Friday, December 28, 2018

Jesuit Education and Democracy (1940)

[152] To the distant rumble of bomb explosions in Britain and along the French coasts, thoughtful people everywhere are re-examining their heritage of political ideas and institutions. The press constantly reports discussions on what science, industry, the schools, the churches can do for democracy. It is all a little frantic, perhaps; but that such soul-searching should take place is inevitable in this grave hour of history. And it may not be without profit to consider what contribution our own educational system may make to the strengthening and defense of American democracy.

I suppose we can agree that the aim of Jesuit education may be described, partially at least, as mental awareness and moral strength. Catholic education in general proceeds from a very clear and definite doctrine of human nature, founded in revelation; and to such a doctrine it can never be false. But the institutions and techniques of Catholic education are subject to change. Thus, as the various fields of knowledge have been more fully explored, and as various branches of learning have been differentiated, curricula have been enlarged, enriched—some would say, overstuffed—in the attempt to place before the student a well-balanced, if admittedly incomplete, picture of the cosmos of which he is a part. Similarly, research and years of accumulated experience have improved and facilitated the work of both teacher and student. Surely the American Jesuit college of today is very different from its European prototype of a few centuries ago. I am not arguing that what is new is of necessity superior, and still less that our present system cannot be improved on, even with our present resources. The point is that our organization of today has evolved and developed, just as our whole world has evolved and developed; that as the social patterns of successive generations have changed, our educational system has been and must necessarily be responsive to the new intellectual and social developments. To do otherwise would be to fail in our main endeavor—the moral and intellectual preparation of men for a fruitful life in the actual world.

But with all the changes in curriculum and technique, the Jesuit ideal remains the same. The chapel is still the heart of the college. The doctrine of human nature is abiding, the spirit of our teaching is unchanged; and these things are what make our work meaningful. Fundamentally, the old and the new are the same, as are the acorn and the oak; and it can fairly be said that we have kept faith with the past and are keeping faith with [153] the present. Hence the serious view we must take of our professional responsibility in facing today's problems in the organization of society.

Now, if institutionalized education within the same philosophical system has changed in the sense described above, so too has government, and more particularly, democracy. Man has always had government, because he has always needed it. But the City-State of ancient Greece and the great national "Service-State" of today are as different as a trireme and a transatlantic clipper. Changes and developments in science, philosophy, law, technology, language, geographical discovery, mechanical invention, all have played a part in the growth of governmental institutions, and have necessarily affected political thought.

For political thought cannot be static. While at its best it is no mere rationalization of a temporary status quo, one of its most important functions is to explain a given political order to those who live under it and are parts of it. As new developments in science, say, or industry affect organized life in society, the political thinker must undertake new attempts at a synthesis which will harmonize the new forces and elements with those that preceded them, interpreting and providing for legitimate human needs and aspirations as they arise. For example, political parties and labor unions were developments quite unforeseen by the democratic theorists of the late eighteenth century, but both are highly important elements in contemporary society—so important, indeed, that their forcible extinction was thought to be necessary in totalitarian states, the several Master Parties being rather more like palace guards than parties in the conventional sense.

At the same time, political theory, if it is to be of any real significance, must repose on a theory of human nature. When you are planning a house, or studying a house already built, it makes all the difference to your conclusions about it whether the house is meant for a man or for a dog. As Professor Ross Hoffmann has finely said:[1] "First things come first, and back of all politics and sociology there lie philosophy and religion.” And so the Catholic political thinker, like the Catholic educator, is capable of deeper and more intelligent and more meaningful social criticism than any other.

It is a mistake, however, to be content merely with stating first principles, or simply to echo, with little commentary and no development, the ideas of St. Thomas Aquinas, St. Robert Bellarmine, Francisco Suarez. The men for whom and about whom they wrote are fundamentally the same as the men of today; but the social organizations, then and now, are, for better or worse, different. It should be noticed, too, that Bellarmine, for example, was not content with a mere repetition of St. Thomas. In the [154] given situation, he could not have been. The conception of the Emperor as temporal head of one undivided Christendom had largely passed in Bellarmine’s day; national states and kings were rising on every hand, each claiming complete sovereignty in his own domain. Bellarmine’s problem was to legitimize reasonable claims to secular authority, and at the same time reasonably to defend the indirect power of the Pope in temporal matters. True, man still had the same origin and destiny, in society and out of it; true, authority still came from God; but actual society—the means to the end—was different from what it had been in the thirteenth century and before; and authority, divine in origin though it was, now manifested itself in ways that would have seemed strange indeed to the men of the Middle Ages.

Suarez, too, was alive to new problems. For example, in a paragraph that is big with consequences for our own time, he writes:[2]
...Though any one state, republic or kingdom be in itself a perfect community ... nevertheless each of the states is also a member, in a certain sense, of the world.... For none of these communities are ever sufficient unto themselves to such a degree that they do not require some mutual help, society or communication, either to their greater advantage or from moral necessity and need.... For this reason therefore, they need some law whereby they may be directed and rightly ruled in this kind of communication and society. 
Such a statement might have almost mystified students a few centuries earlier, when there was but one Respublica Christiana, when a barter economy based on self-sufficient villages, the feudal system, and an international culture bestowed by the Church made quite superfluous a plea for international law of the kind Suarez here seems to demand.[3]

Adjustments of the foregoing type are the problem of the Catholic political thinker today. The rate of social change has been tremendously accelerated in the last century and a half. It requires a strong effort of the imagination to picture a world in which the smoke of modern industry did not blacken the sky, in which a voyage to Europe was a matter of weeks or months, and even a trip to the county seat was an adventure. Even those who have witnessed the coming of the automobile, the airplane, and the radio are now so accustomed to them that one is startled at seeing a photograph of a national highway of 1912, with all its ruts and mud, and [155] amused and alarmed by a snapshot of an early "airship”—a nightmare contraption of wings and bicycle wheels. Yet all these things and many more have changed the pattern and the matrix of our social lives. The Political Revolution did not come alone; the Industrial Revolution was superimposed on it. It was still true that the purpose of civil government was to provide for the peace and security of those who lived under it; but the content of these general concepts had to be analyzed anew, with reference to problems—the growth of an urban proletariat, for example—which earlier generations were not called upon to face, and in terms of new channels of authority, new governmental institutions and processes. The age of "Social Politics,” to use the happy phrase of Professor Carlton Hayes,[4] had arrived. For the Political Revolution cast off various old political ties, and various social disabilities; it was, if you will, a somewhat negative movement, emphasizing "freedom from.” Later in the process, in consequence of democratization and industrialism, a positive demand makes itself felt, emphasizing greater participation, not only in the governmental process but in economic advantages, calling for positive services from the state—benefits such as unemployment insurance, standards of wages and hours, old age pensions and the like. To describe the movement would be to tell, among other things, the history of de Mun and the Social Catholics in France and elsewhere on the Continent, of Manning and the pre-1914 Liberal Party in England, and—much later—of the New Deal in this country, not to mention, ex altera parte, socialism in its many forms.

Now all this may seem remote from the problem set before us at the outset, namely, what contribution our Jesuit educational system in this country can make to democracy. I do not think, however, that we have wandered too far afield. For our problem, as I see it, is two-fold: it is, first of all, to hand on to our students, in definite and vivid terms, such a doctrine of human nature as will provide them with something basic to all their political thought, and something partaking of the nature of an absolute to which they can refer democratic doctrine. And secondly, it is to play our part, as teachers, students, writers, in interpreting the needs of our time with the aid of our age-old and immutable philosophical concepts. For both tasks, understanding of the origins of our pressing social problems is absolutely vital.

Some contemporary writers and some university professors and presidents are experiencing an uncomfortable intellectual draft as they awake to find a large proportion of young men and women, well formed in scepticism and disillusionment by their very teachers, no longer actively believe in any values, and that if these young people cling with a certain [156] instinct to a belief in democracy, this belief, lacking a radical basis in logic and human nature, is not likely to survive sudden, violent shocks. The situation has been admirably though perhaps too pessimistically described by Professor Mortimer Adler.[5] There are plenty of people who base their belief in democracy, very sincerely and very completely, on a theory of natural rights. Theirs is a fair working theory so far as it goes, and it may provide them with a more or less permanent philosophical abode. But there are almost inevitable contradictions which will beat at its windows. And when you say, "yes, but on what do you base natural rights?” the discussion becomes viciously circular.

Catholic educators do not labor under such disabilities. Their doctrine of natural rights can be traced back to verities that are pre-political, that are bound up with ethics and with theology. They do not need to plead for "faith in the democratic process”; they do not view democracy as a particular set of mores, which, in a given cultural frame of reference (blessed phrase!) enjoy a temporary vogue and a somewhat dubious respectability. But they should endeavor to communicate to their students a reasoned, vital enthusiasm for responsible representative government according to just law and reasonable interpretation of the Constitution, as that form which is most in harmony with individual dignity and social responsibility in our historical setting.

Catholic educators will be realistic; yet they shall not betray themselves and their students by hard-boiled, disillusioned cynicism about political facts—which logically ends in the overthrow of democracy and perhaps in a "revolution of nihilism.” They cannot afford to shrug their shoulders at political corruption, because, forsooth, it has "always existed,” and anyway, doesn’t the "machine” give handouts to the poor and tear up the clergy’s traffic tickets? Mr. Charles Michelson, publicity director for the Democratic National Committee, has recently given us a splendid example both of a type of political mores and of the cynical attitude we must combat. In an article released to the daily press by the North American Newspaper Alliance agency, dated Washington, November 11, 1940, Mr. Michelson offers a "critique by a publicity engineer of the technique and strategy of ... the battle for Wendell Willkie.” Speaking of the choice of Mr. Willkie as candidate for the Presidency, he writes:
I do not know that anybody could have beaten such a popular idol as Franklin D. Roosevelt, but I have in mind the type which would have had a much better chance than Mr. Willkie. He should have been a bland person, with some wealth, inherited possibly, and a record of public service—governor of a state, perhaps, or a judge, or even the head of a conspicuous philanthropic [157] organization, with a war record to take away the taint of stuffed-shirtism. A human bromide? Certainly; that’s what the occasion demanded.[6]
Whether or not Mr. Michelson is spoofing his foes, the same attitude is to be found in many political treatises by serious scholars, and I submit that the logical consequences of such statements are more dangerous to democracy than Mr. Earl Browder's noisiest rallies.

On the other hand, and at the opposite extreme, we will carefully refrain from identifying any form of governmental institutions with "Catholism,” bearing in mind the precisions of every pope since Leo XIII as to the compatibility of the Church with any form of civil society which recognizes the rights of God and the Church. Nor will we be deluded into thinking that Christianity is, to quote Mr. Christopher Dawson,[7] "like a patent medicine that is warranted to cure all diseases." The same author continues:[8]
Christianity offers no short cuts to economic prosperity or social stability. A century ago there was a tendency to treat Christianity as a kind of social sedative that kept the lower classes obedient and industrious, and the consequence was the Marxian denunciation of religion as the opium of the poor. And if today we treat Christianity as a social tonic that will cure economic depression and social unrest and make everybody happy, we shall only ensure disillusionment and reaction. It is impossible to create a Christian social order ab extra by the application of a few ready-made principles or by introducing legislative reforms.
Furthermore, just because we are by second nature so conscious and respectful of order and hierarchy in truth, we shall be very careful not to withdraw prematurely to the higher ground of abstract principle, and content ourselves with being philosophers, leaving what are called the social sciences to stew in their own thin intellectual juices. Those sciences—politics, economics, sociology—need precisely what we have to give them: an ethical bearing; but the trick can’t be done without studious application to political, economic, and sociological facts, as they actually occur in our social setting. Some day, some of our graduates may make important contributions to social theory, to law, to public life, precisely because they are Catholic scholars. Let us remember that, as educators, we have a duty to society of preparing not just good citizens, but really capable leaders, in public life as well as in the Church and other vocations.

One last word. Our concern with democracy and its problems at home [158] should not distract our attention as Catholic educators from the larger problem of world organization. In this field perhaps more than elsewhere, Catholic scholarship in America faces a challenge. Is it not fair to say that Catholics, who ought to be universalists by habit of mind, and hence better qualified to apprehend the issues at stake, have been somewhat slow to contribute anything very substantial to the raging debates about international organization and law, the concept of neutrality, intervention, national self-determination, that fill the air about us? Here the ground is shaky indeed; ethical principles have still to be formulated and developed. But perhaps in this very domain, American Catholics may make their best contribution. The vigorous Catholic social thinkers of France, the Low Countries, the Germanics, have now been silenced;[9] perhaps we can try to fill their place.

Catholic—and Jesuit—education, then, has a contribution to make to democracy, and to the American way of life. It has its Christian-humanist tradition and philosophy of man with which to give true meaning and value to our democratic institutions. But it cannot confine itself solely to abstract statement, as though the social order were static. In a changing, growing world, ever more complex, it must continually enlarge and refine its doctrine to reach and to penetrate new human problems and situations created by external forces—"omnia probate, quod honum est tenete.” In proclaiming what ought to be, Catholic education should never overlook what is: to do so would be to create an inadequate picture of the world, and risk untrue conclusions. But its view of what is will never obscure the beckoning summons of duty to that which ought to be, to those things which will create a better world for free yet responsible men.

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Footnotes:

1. The Will to Freedom, London, 1936, p. 68.

2. De Legibus ac de Deo Legislatore, lib. II, cap. 19, par. 9. Italics inserted.

3. I do not mean obviously, that the Middle Ages were not conscious of what we might call international law. St. Thomas is full of meaty reflections on peace and war; the notion of "Jus Gentium" was inherited from Roman times. But in the passage quoted, Suarez seems to be thinking about law as between equal and independent states—a concept unknown to the Middle Ages. And "Jus Gentium" seems to mean "a body of rights belonging to all peoples, whatever the accidents of their birth, which should be respected, in their mutual relations." Cf. Eppstein, The Catholic Tradition of the Law of Nations, London, 1935, p. 259.

4. Cf. British Social Politics, New York, 1913.

5. "This Pre-War Generation," Harper's Magazine, October 1940.

6. Italics inserted.—One may doubt whether this is a very good analysis even on Mr. Michelson's own premisses [sic]. After all, Mr. Willkie ran an excellent race; most commentators considered him the strongest possible candidate, and he attracted five million new votes to the ticket, while President Roosevelt lost half a million from his 1936 total.

7. Religion and the Modern State, London, 1938, p. 121.

8. Ibid., pp. 121-22. Italics inserted.

9. Everyone must know about such movements as the J. O. C., Action Populaire, etc. But Catholic thinkers in Europe were also greatly concerned about international problems. See, for example, the Semaine Sociale de France of 1926, the subject of which was "La Vie Internationale" (Compte Rendu: La Chronique Sociale, Lyon, 1926); also, the excellent "Code de Morale Internationale," published by the Union Internationale d'Etudes Sociales of Malines, Paris, 1937, which was compiled by Father Albert Muller, S. J., of the faculty of the Institut St-Ignace of Antwerp, and later translated by the Catholic Social Guild, Oxford, 1938.

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Source: Gerard F. Yates, S.J., "Jesuit Education and Democracy," Jesuit Educational Quarterly 3, no. 3 (December 1940): 152–158.

Thursday, December 27, 2018

Robert Gannon, Jesuit Education of the Future (1940)

[128] [Footnote attached to the article title: An address delivered at the 54th annual convention of Middle States Association of Colleges and Secondary Schools at Atlantic City, New Jersey, November 23, 1940.]

When I found that there was no escape from the honor of addressing you this morning, I asked that the authorities assign me a subject on which the audience had even less information than I had. They answered that that would be possible only if the audience were composed exclusively of college presidents. So the next best thing was a seance of crystal gazing in which we could all have our feet well off the ground. "What will the Jesuit education of the future be?" proved to be an excellent question for such an occasion, because the proper approach to an answer that might apply in even a single country, presupposes a few such simple questions as these: How long will the present war last? Who, if anyone, is going to win it? Are we, perhaps, going to take a hand ourselves? If so, will our own form of government remain unchanged? Even if it does, shall we have a Secretary of Education? Will she be known as the Secretary of Propaganda, or will she simply be such in fact? How long will private institutions be allowed to grant degrees? How long will they be tax exempt? How long will they be able, in any case, to pay the grocer? It is all pretty foggy of course except on the supposition that our form of government in the United States will change eventually to the Russian or the German model. Only in that case can we be relatively definite in predicting the future of Jesuit education in America. For then will it most certainly be one with Nineveh and Tyre. Come the revolution, we Jesuits are prepared to dangle from 5,000 telegraph poles, beginning with the rock-bound coast of Maine. We may dangle Jesuitically, in a clever diabolical manner that no one ever expected, but the breathing is sure to be awkward and in any case the Ratio Studiorum will be done for until, of course, we return again, as we always do. (It would be un-American to say that we have been thrown out of better countries than this. But no one can deny that we have had a lot of practice!)

Suppose, however, that democracy not only endures, but triumphs, that education is able to resist strangulation at the hands of the Federal Government, a strangulation that has been threatening for nearly twenty years; suppose that the public comes to realize the immense debt this country owes to private institutions and the irreparable loss that would be suffered if all the small colleges of liberal arts were to be crushed. In other [129] words, suppose that the next sixty years turn out to be something like the last. What can we predict with any amount of confidence? Only such things as may be called essential to our ideals.

As Abraham Flexner once said, "Subjects change, problems change, activities change, but ideas and qualities abide." In the course of our four hundred years, we have ourselves seen many changes in subject matter, or more accurately perhaps, changes in the emphasis placed on various subjects in the curriculum. The vernacular, for example, was not entirely ignored, even in the sixteenth century, and the physical and social sciences were all familiar, in a way, to a boy attending a Jesuit college in the time of Henry of Navarre. For even then, in his study of the classics, he went far beyond the problems of grammar and strove for a grasp of the varied content found in the old historians, scientists, and statesmen. To a still greater extent, in his study of systematic philosophy was he concerned with questions no relegated not only to sociology and government, but to physics, biology, and chemistry. Yet the emphasis now placed on modern languages, and the social and physical sciences, to say nothing of the de-emphasis evident with regard to Latin and Greek and philosophy would certainly have amazed the Very Reverend Father Claudius Aquaviva. So, too, would the complexity of our problems in preparing students for modern life. It is a far cry from the days when university graduates were expected merely to be teachers, statesmen, gentlemen of leisure, or clerics. The value of the old classical training for such was fairly obvious. Their financial and political problems were different too. It was one thing to receive a foundation of so many golden ducats from the Duke of Gandia or the municipality of Hildesheim, so that one could operate in tranquillity as a free school, and quite another to begin in a log cabin and live on one's wits. The presidents of our older institutions were saintly and scholarly men who left a tremendous impression on their two or three hundred pupils. Now we have to find the type that can stay out late and wake up cheerful, eat rich food and keep the old figure down, shake hands like a Rotarian, pass the tambourine, and preserve the King's peace among some four hundred and fifty faculty members. Similar changes may be anticipated for the future in subject emphasis, social problems, and activities. Professional schools will of course as in the past, change most radically, being concerned chiefly with changeable elements, new discoveries, and skills. But these we mention only in passing, because there is nothing distinctly Jesuit in even our own schools of engineering and medicine. Our college of liberal arts, however, will certainly change the least. For its principal purpose, the training of the intellect and will, its principal subjects Divine and human nature, and its principal instruments, literature and philosophy, will always be essential in any civilized country [130] at any time. I should not be surprised (though this of course is shameless crystal gazing) if the numbers in our liberal arts were drastically reduced before my golden jubilee. Neither should I be a bit displeased. For like all other American institutions, we have our own proportion of spoiled house painters working for an arts degree. I expect, however, to see a time when only those will take up the liberal arts who can profit by them, and trade schools and professional schools in abundance will look after the other boys and girls. For the shadow of vocationalism, the constant demand for ad hoc training which comes today from so many parents and students and which more than anything else has caused a loss of confidence in our traditional college course, would vanish if schools with irreconcilable purposes existed side by side, frankly different, without any effort at compromise, the large ones teaching their students how to make a living, the small ones how to live a full, rich, intellectual life. It is true that most of the students who will thus be able undisturbed to give their hours to Aristotle and Sophocles will have to learn eventually how to make a living, too, since these schools will be too small and few to absorb all their own graduates as teachers. For them, however, vocationalism will wait on culture and be in the nature of graduate work, the time element being remedied by getting our students through their undergraduate studies at eighteen and nineteen years of age—an end devoutly to be wished, and not impossible.

Having thus solved the modern problem of vocationalism by reserving the liberal arts for those who are fit for them, let us imagine ourselves a board of inspectors visiting a Jesuit college in the year of our Lord 2000. The first room we enter, presided over by a middle-aged Father who will have been born about 1960, is doing the Pro Marcello, reading the Latin with emotion, analyzing the power of the speech, trying to transfer some of its beauty into English. Next door, a somewhat smaller group will be getting ready to produce Antigone, arguing about the difficult meter of the choruses. For our persistence in defending the ancient classics is not vestigial; it is not a mere habit that was formed in a simpler time when people had less to learn and much more leisure. It is a matter of dispassionate conviction arising from arguments which will probably be as valid in the year 2000 as they are at present. Then, as now, it will be desirable to know some other civilization with familiarity in order that we may better know our own. Then, as now, the splendor, depth, and completeness of Greece and Rome will be more impressive than that of China, Carthage, or Victorian England, not to mention Rooseveltian [sic] America or the worm-eaten Europe of the twentieth century. They will always have, moreover, immensely greater value than any other civilization as being two of the principal fountain heads of modern life. Then, as now, the sympathetic [131] understanding of another civilization will involve a knowledge of its language. And when you add the further advantage in the present instance that these languages are themselves so beautifully and so logically developed that their mastery tends to form invaluable habits of the intellect, you can readily understand why Jesuit colleges of liberal arts have no intention of abandoning Latin and Greek. The same is even more true of systematic philosophy. Sixty years from now our students will still be learning to think, not in bunches, but in an orderly process that turns all the stones and picks up loose threads as it goes. They will still be learning to analyze, a rare enough thing even now in this age of synthesis. They will still be welding together more through philosophy than any other means all their literature and their social and physical sciences; welding them into a definite interpretation of their own experience and of the world in which they will be living at that time. Science, will, as always, have its place. But it will be a place definitely subordinate to literature and philosophy. For we can anticipate nothing that will change our conviction with regard to the end of the liberal arts. While we remain what we are, we can never regard that end as the accumulation of facts or skills. We shall always be content to train the attitudes of our students, to let others train their hands. We shall never try to evaluate an ode of Horace in terms of dollars and cents. We shall always be absorbed in the thrilling task of enriching the taste, sharpening the intellect, and strengthening the will of future leaders of men. We have consistently resisted a dozen will-of-the-wisps through three generations of American floundering. We are not likely to follow any new ones in the next sixty years. The most influential of the present crop whose spirit has permeated every state of the Union with socialism, pragmatism, and exaggerated experimentalism, has left us happily unscathed. We esteem the individual too highly to be thorough-going socialists. We are too devoted to principles which we regard as eternal to be entirely pragmatic. We are too impressed by the accumulated wisdom of the human race, by that treasure of experience to which each generation adds its small deposit of true gold, ever to have our schools ignore the past and start again as though no one else had ever lived before us. Sixty years from now, we shall still strive to honor the individual, to honor eternal principles and traditions but above all, to honor God, who is the reason for honoring all the rest.

Therefore, of this one fact we are more certain than of all the other predictions about our future schools that have gone before, Jesuit education in the year of our Lord 2000 will still be definitely anti-naturalistic. It will be strong in its opposition to a system in which to quote de Hovre "mental life is reduced to psychology, psychology to physiology, physiology to biology and biology to mechanism," in which "concepts become [132] percepts, ideas become images or representations, intelligence becomes a function of the brain, the soul is reduced to matter, will is identified with instinct, freedom yields place to determinism." In which, to put it briefly, man is reduced to nature. You can be equally sure that all the symptoms and signs of naturalism will be absent, too. Relativity, with its fuzzy thinking about universal truth. Psychologism, with its desire to dissect human nature as one would the brain cells of a frog. Scorn of tradition, which makes everything old, seem absurd. Scientism, which accepts the laboratory as the only source of truth. Methodicism, with its worship of "how" at the expense of "what." Scepticism, which worships the pursuit of truth, rather than truth itself. Bibliolatry, which worships mere production for its own sake; which rates a teacher by the number of books he may have published.

Perhaps the rejection of all this will not be as individualizing in the year 2000 as it is today. Perhaps this naturalism, with its easy and empty catch phrases may be as extinct as the white rhinoceros in another sixty years. Certainly American educators of today are not as openly enthusiastic about it as they were three generations ago. At that time, you may remember,  it was popularized by Comte in philosophy, by Darwin in science, by Spencer in education, and by Zola and Balzac in literature. It was so terrifically modern and so scientific in 1850, it was so easy to grasp and explained so much: "Nature is the source of all, all is explained by nature." My dear, it was as simple and as smart as stepping into a horse car. Then, too, it was so optimistic. All one had to do to be happy was to live in tune with nature. You know, clouds and rocks and things? Then, too, it had the distinct advantage of flattering the private judgment and doing away with the troublesome Ten Commandments. Unfortunately, however, the intervening century has emphasized the inadequacy of such a point of view, and now educators say they have abandoned naturalism. They haven't. They have abandoned only its name. All the derivative aberrations we mentioned above, beginning with Relativity and ending with Bibliolatry are still flourishing in American universities. It is still true that science is the main instrument of our national education, that it is still dehumanizing our schools, that it is still crowding out our liberal arts. As Max Scheler wrote in Person und Sache, "There is no point perhaps in which modern minds are more in accord than on this one, namely, that nature and machinery, things which man should control, have come to dominate man more and more, that things are becoming more powerful, more beautiful, more noble, that man is becoming smaller and more insignificant, a mere cog in the machine he has built." Sixty years from now, we Jesuits shall be still specializing in human nature. The tide may be with us or against us. It varies in different generations. We shall be just [133] as interested as ever in man's importance, man's absolute and relative importance. We shall still be absorbed in problems that center on the double role he plays as creature and lord of creation because when we cease to consider this, the starting point of all our education, we shall no longer be ourselves; our education will be something else.

In one way, therefore, our future is wholly unpredictable. Sixty years from now we may be just a picturesque chapter in the history of education, a phenomenon of the Renaissance that lasted into the bloody and barbarous twentieth century. If, however, the human race muddles through its difficulties and normal life returns, if the Jesuits are still conducting liberal arts colleges in a free United States, they will be following a rejuvenated, streamlined, but still quite recognizable Ratio Studiorum.

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Source: Robert I. Gannon, S.J., "Jesuit Education of the Future," Jesuit Educational Quarterly 3, no. 3 (December 1940): 128–133.

Robert Henle, Stimulating the Superior Student (1940)

[15] [Footnote attached to the article title: Summary of paper read at the meeting of the high-school delegates, Jesuit Educational Association, Kansas City, Missouri, March 29, 1940.]

There is little need to insist on the importance of the problem raised by the presence in our schools of the exceptionally gifted student. It is a problem set us by God Himself. For does not the bestowal on our boys of unusual gifts of mind and character, impose, by that very fact, an imperative obligation on those to whom their development is entrusted? We who know of His Providence must believe that He means, in our day, to raise up among us leaders of courage and power. And these leaders—may they not be those highly talented boys that we find in all our schools, boys who are eager and alert, susceptible of inspiration, receptive to ideas and ideals?

The problem seems so important, that I will not limit myself to dealing with individual methods or auxiliary activities by which all good teachers who have the time attempt to stimulate their gifted students. These are makeshift devices, mere appendages of the classroom work. No amount of such extra or special work, excellent as it may be in the circumstances, can provide the adequate treatment that the superior student needs. We will never do him justice nor realize our full potentialities as Jesuit educators until we make basic changes in organization and curriculum. I believe there is latent power in our traditions and our organization which we have not as yet fully realized or applied here in America. I envision a Jesuit high-school education that would not only be superior to all others, Catholic and non-Catholic alike, but also to our own past successes. Whatever criticisms, then, I may offer in the course of this paper will be relative to this ideal.

We are hampered in dealing with gifted boys by the present rigidity and uniformity of curriculum and organization. It is on the superior student that the evils of mass education fall most heavily. He is marked by stronger individuality, by greater differentiation in quality of talent and temperament. This naturally strong individuality he has often further emphasized by accidentally directed interests, habits of reading, observation, and the like. The gifted student simply refuses to be generalized into an average. Yet, he finds himself in a system based on the doctrine of the average. The class is taught according to methods adapted to the average; its matter is set up and assigned by an average; the goal of achievement set is based on an average of ability. This goal the superior student finds [16] easy; the classroom teaching is too plodding for his more rapid mind; mental tension of the classroom is at too low a potential for him. He becomes bored; he does the required; he is not interested or stimulated. Some of these brighter boys become lazy through lack of incentive; some of them expend their intellectual energy in outside activities like debating, dramatics, desultory reading.

Again, the superior student above all others learns by self-activity. To him the principle of St. Ignatius is supremely applicable that what one discovers for oneself is of far more value than what another tells him. Yet, the general classroom technique is necessarily open to the charge of spoon-feeding. With an average class we cannot busy ourselves, as Socrates did, in any midwifery of ideas; the Socratic method would be too slow, would raise more difficulties and obscurities than we could ever handle. And so the greatest thrill and inspiration and profit of the intellectual life, discovery of ideas, is denied to the very student who could most profit by it.

I would propose to meet the situation by setting up an honors course for select students. I do not mean simply a grouping together of the upper-ranking students at a higher average level of teaching and achievement, but a separate course outside the average organization itself, one based precisely on the principle of individual education. We could outline the essential features of such a course under four heads: (1) The subject matter would be divided into two sections; namely, one integrated central course in the humanities, to include the linguistic, literary and historical disciplines; and a small group of auxiliary branches like mathematics and science. (2) A single able teacher would be assigned to a small group of, say, fifteen boys as their permanent director. He would himself teach the humanities throughout the four years. (3) The progress would be based on achievement and mastery, not on the unit-test-mark system. (4) The method would include directed study and self-activity; personal direction; personal tempo of progress; Socratic method in dealing with ideas.

Obviously, the important element in such a system would be the directing teacher. He should be a man of intellectual interests, of balanced character, and, above all, devoted with apostolic zeal to the best interests, both spiritual and intellectual, of the boys. This teacher of high calibre [sic] would, with a small and permanent group, be able to apply himself to the study of each boy as an individual problem. He would come to know and understand the  minds and characters with which he is dealing, and, through his four years of contact, he would be able to direct reading, discussion, and study strategically, like a good general, towards the goal most fitted to each boy. The constant contact with such a teacher would arouse admiration and the incentive to imitation in the young minds. After all, youth develops its ethical attitudes from social pressure and imitation rather than from [17] copy-book maxims and religion-class exhortations. Many would object to wasting, as they would put it, such a man in high-school work. But if there can hardly be a work of more permanent value and of greater ultimate influence than the production of the great Christian character, and if secondary schooling is the most plastic period of a man's life, how could we do better than to place outstanding men in such positions? A province would reap rich rewards from such a 'sacrifice' of talent. If the contact with one major teacher would be thought too narrow, perhaps two such men could handle several groups of honor students in close cooperation, close enough at least not to destroy the intrinsic unity of the humanities course.

The course I suggest would be based on a single major study including languages, literature, and history. All true liberal education has included these disciplines which are so solidly established in our own traditions. This is precisely because such studies present a diversified and yet unified training that corresponds to the fullness of human nature. They bring out in harmony and polish to perfection the potential excellencies and powers of man as such. The arbitrary division of an hour for Greek, an hour for Latin, and hour for English, has greatly weakened the efficiency of the humanities, especially by dividing the direction between a classical M. A. and an English M. A. The underlying habits and ideas are the same; we wish to teach sound linguistic habits, literary attitudes, and general cultural ideas. Unity of study and teaching will throw emphasis on the educational goal and on the boy rather than on a specialized subject-matter. Within the course all our traditional methods and many excellent devices developed in modern times would find place. Basing the whole on the personal tempo of the individual student and on achievement, we could have the boys working at a tension of activity rightly proportioned to their ability. And if the system were based on achievement progress, every step would be sound. It is easy enough in the unit-test-mark system for a boy to get a passing grade in a test or even in a course without real mastery of the subject. As such a boy passes on from class to class, he is found to have preparation progressively less adequate for each advance. He pulls down the average of the class and himself develops a garbled mentality and a set of slipshod intellectual habits. If, on the other hand, mastery is the test of advance to new matter, if new units or projects are not undertaken until habitual mastery of the pre-requisites is acquired, solid and genuine intellectual growth will result, a thing for which the gifted boy will have respect and a growing gratitude.

The matter of the humanities would admit a variety of excellent methods, all permitting a maximum of self-activity and individual direction. Some matters, like syntax, would fall naturally into progressive units to [18] be mastered in sequence by the individual. Others, like history, where a dull lecture-recitation method is often used, would be organized as projects to be worked up under direction. Reading—think what it would mean to be able to direct and study the reading of a boy through four years of high school, especially if one had other opportunities of taking intellectual measure of his mind. With a small and selected group one could frequently resort to the Socratic method, leading a boy to the splendid surprise of idea-discovery.

All this is firmly founded in our Ratio and our traditions; and it would profit by and perfect the better efforts being made by outsiders in this same field.[2] We Jesuits, whose educational achievements turned back heresy and reformed Catholic Europe, whose history is one of courageous conquest of obstacles and daring victory, are not we supremely fitted to turn our hands to the reconstruction of education and of society by making available to boys of talent an even more effective system of secondary education?

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Footnotes:

2. Cf. "An Experiment in Responsible Learning," by William S. Learned and Anna Rose Hawkes, Thirty-Fourth Annual Report, the Carnegie Foundation, New York, 1938, pp. 45-75.

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Source: Robert J. Henle, S.J., "Stimulating the Superior Student," Jesuit Educational Quarterly 3, no. 1 (June 1940): 15–18.

Jesuit Education in the Contemporary Scene: Dangers and Obstacles (1940)

[12] [Footnote attached to article title: Summary of a paper read at the general meeting of the Jesuit Educational Association, Kansas City, Missouri, March 26, 1940.]

The greatest danger for our American Jesuit educational system would seem to be the threat of extinction. Primum est vivere. We have been so accustomed to chart the progress of our schools by the annual increase of enrollment, we are so dependent for our support and the liquidation of our debts upon tuition fees, that a decline in numbers and revenue must inevitably sound like the first knell of our untimely interment. Yet competent students of population statistics assure us that the enrollment tide has been running out in the elementary grades, and the effects will soon be felt in secondary and higher institutions. Instead of worrying about how to find space for the students who clamor at our doors, how to discriminate and eliminate the less desirable, our successors, and even we ourselves before many years, will be hard put to it to utilize the buildings we have already provided. Competition with tax-supported institutions will become increasingly unequal as people become more habitually dependent upon public money for the various necessities and luxuries of life. Our smaller schools and colleges (and there are at least a dozen such) will naturally feel the pressure first; their death notice has already been given, and in some cases will undoubtedly be carried out, lessening insofar the national spread of our educational influence. But all of our institutions, even those in the largest urban centers, as recent studies have warned us, will have to face the task of adjusting themselves to a falling market.

But a more immediate danger is the threat to our independence. However favorably our educational liberty may compare with that enjoyed in other countries, absolutely speaking we are not free to apply our educational ideals to the fullest degree. I doubt if we ever will be. No institution is completely free that has recurring interest payments to meet. And even within the ambit of our means we are not free. The State has something to say about the type of courses we give and the accrediment [sic] thereof. A patent example is the business of teacher training and certification. When our students conceive the laudable ambition to enter this field, they subject themselves and us with them (if we wish to cooperate) to the standards [13] and examples of the state institutions. Our curriculum has in many instances to be adjusted, or else teacher preparation becomes a state monopoly. In either alternative liberty suffers. Similarly in the field of secondary education, certain services are made available at public expense for students of public high schools, scholarships are offered to the state's higher institutions; where occasionally the same or similar privileges are extended to students of private schools such as ours, it is only at the price of much of our own freedom.

Should we seek to throw off the educational shackles of the state and organize as independent institutions, we only take up the yoke of the various accrediting agencies, more tyrannical because more meticulous than the state. I do not wish unqualifiedly to decry these associations, or to cast any blame upon our predecessors who chose to ally us with them. On the contrary I can see many benefits that they brought us; for one notable example the better preparation of our teachers. But I insist that by their judicial function these associations are a constant danger to our independence, tending to reduce all institutions to the same pattern. Our colleges and universities in particular are noticeably hampered in their organization and division of classes by the fear of reprimands from higher commissions. Graduate work is rigidly controlled or eliminated by their ipse dixits; and thus the reputation if not the existence of our institutions is made dependent upon the beneplacitum of a strong pressure group.

It is true that a measure of this freedom may be perilously preserved by our faithful participation in the councils of these agencies. Thus we can expect to serve our turn in the offices and on the commissions that wield the power; we can for a change be the judges instead of the judged. We can even shape the policies and ideals of the other institutions to some extent. But to a very small extent. Our philosophy of education, like our psychology, is hopelessly alien to most of our non-Catholic educational colleagues, and for the few ideas of ours that they absorb, they subtly impose upon us a great many of their own. It takes stronger resistance than most of us have, not to imbibe ideals and criteria that are fallacious, if not harmful. By dint of filling out questionnaires we begin to accept implied quantitative standards and to value our institutions according to the number of learned magazines we subscribe to, and the conventions we attend.

The third danger to our educational integrity is the constant temptation to modify our traditional educational policy. The Jesuit code of education, though sometimes more honored in the breach than in the observance, has historically been committed to the Renaissance ideal of the liberal arts as opposed to vocationalism. Gradually by force of circumstances, a considerable growth of specialized non-liberal courses has been grafted on to our system so that now it is not always easy to recognize a Jesuit school or [14] college except by the black robes of some of the teachers. In the face of dwindling enrollments already foreseen, this deliberalizing tendency will go on unless we are seriously determined to stop it. Already more than half of the students in our higher institutions are in courses that cannot be classified as liberal, and there are clear indications that the trend is on the increase. Random sampling indicates that in our high schools too, in many sections of the country, a similar situation prevails. What is it that brought about this denial in practice of our four-century old theory of education? It is the fear of empty classrooms if we resist the vocational spirit of the times. Only the inveterate humanists, the belated followers of Newman will wistfully wonder whether a few distinctly Jesuit institutions are not a greater glory than a disparate group of complex institutes of applied arts. Or is it only the leader of a lost cause who says, "Sint ut sunt, aut non sint"? [NB: "Let them be as they are, or not at all."]

It may not be feasible or desirable to scrap immediately and everywhere all our courses and departments which do not properly come under the traditional scope of Jesuit education, but a beginning could be made forthwith. At least as a group we could subscribe to a clear-cut manifesto of our predominantly humanistic sympathies. Individually our administrators might pledge themselves for the quadricentennial year to a moratorium on expansion and experimentation; to the better publicising [sic], preparation, and conducting of our courses in the humanities, and to the leavening of all other curricula by a more generous injection of the liberal arts. Would not our whole educational system bask in the reflected glory of one strictly and uncompromisingly classical college? Why should not our high schools, when they exist side by side with other Catholic secondary schools, be reserved for those who are willing and able to follow the full classical curriculum? Are we not obliged in justice to take every possible means that our students secure that type of education for which we are the best fitted by training and tradition, and which moreover we consider the best system yet evolved for the cultivation of the human mind?

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Source: Andrew C. Smith, S.J., "Jesuit Education in the Contemporary Scene: Dangers and Obstacles," Jesuit Educational Quarterly 3, no. 1 (June 1940): 12–14.

Ted Gioia on Music Criticism and His Critics


Ted Gioia, "Music Criticism Has Degenerated Into Lifestyle Reporting," Daily Beast, March 2014, https://www.thedailybeast.com/music-criticism-has-degenerated-into-lifestyle-reporting.

Responses and criticisms:

https://pitchfork.com/thepitch/278-music-criticism-is-not-lifestyle-reporting-a-response/

https://songsfromsodeep.wordpress.com/2014/04/16/music-criticism-has-degenerated-into-lifestyle-reporting-allegedly/

https://www.popmatters.com/jody-rosen-vs-ted-gioia-and-the-advent-of-new-fogeyism-2495675136.html

https://nmbx.newmusicusa.org/music-criticism-is-broken-and-its-all-your-fault/

https://www.vulture.com/2014/03/rosen-in-defense-of-pop-criticism.html

https://flypaper.soundfly.com/editorial/do-you-need-to-be-able-to-read-music-to-analyze-it/

http://333sound.com/has-music-criticism-degenerated-into-lifestyle-reporting/

https://musicandsoundstudies.wordpress.com/2014/03/21/ted-gioia-music-criticism-has-degenerated-into-lifestyle-reporting/

http://flavorwire.com/446354/in-defense-of-21st-century-music-criticism

https://slippedisc.com/2017/03/we-need-music-criticism-more-than-ever-nowadays/

Kurt Poterack, The Rhythm of Popular Music

The most interesting response to my Principles article, “A People without Melody,” was: “I get what you are saying about melody, but what about rhythm?” The person continued: “Certainly, there is a big emphasis on rhythm in popular music; wouldn’t you say that popular music today excels when it comes to rhythm?” I replied that rhythm is certainly a defining feature of much popular music today; however, the notion that these rhythms are always “excellent” would require a lengthier answer. This essay is my response.

I should say, by means of introduction, that I can only survey what I see as major trends in contemporary popular music and cannot even cover all of these. I very much regret, for example, that I will not be able to speak about that complicated, yet important, phenomenon of swing rhythm. There just isn’t enough space. But what follows will be an honest attempt to critique some of the major rhythmic trends in popular music.

It might be helpful, first, to look at St. Augustine’s definition of music: Musica est scientia bene modulandi. There is some question about the meaning of the last word (modulandi), but a good translation would be: “Music is the art of measuring well.” There is, however, another possible, and very complementary, translation. Taking the word motus (movement), which is very close to modulandi’s cognate word modus (measurement), I propose another translation: “Music is the art of moving well.”[1]

These two connected ideas of the measurement of musical rhythm and the movement that it inspires in dance go back, most famously, to Plato. However, it is important to understand that it is the perceived movement in the music itself that, arguably, inspires the reciprocal movement in dancing. Keeping this in mind, I would like to proceed to what I think is a central, and poignant, question implicit in Roger Scruton’s fascinating book The Aesthetics of Music. The question is: How did we get from “the cheerful and life-enhancing sound of Louis Armstrong” to the “monsters of Heavy Metal”?[2] Or, if I may add, to the modern-day Danse Apache of Gangsta Rap?

Even before Louis Armstrong, there is the equally cheerful and life-enhancing music of Ragtime. Ragtime seems to have been created by black pianists of the American Midwest who took the pre-existing musical form of the march, but “ragged” (i.e., syncopated) the rhythm of the melodies. Syncopation, which means emphasizing normally weak beats or weak parts of beats, was not a new phenomenon—you can find it in classical music. What makes Ragtime different, however, is that it uses syncopation regularly as a normal part of the music.

Is this more frequent use of syncopation something that comes out of Africa? Yes, but there is more to it than that. In Africa, as well as other places outside the West, one can find very complex percussion music of long tradition. It is typical in Africa to hear percussion ensembles playing layered rhythms that create fascinating textures, polyrhythms (e.g., groups of four played against groups of three), intellectually stimulating ambiguities (are these three groups of two or two groups of three?), and, at times, a deliberate obscuring of the beat.

Since such practices are beyond what one would hear even in Ragtime and in Louis Armstrong, where would one hear these influences in American popular music? The answer is that they can be heard in the Latin American music that comes out of South America and the Caribbean—rumba, mambo, salsa—where black slaves were able to preserve more of their musical traditions than in North America. One can also hear this in some of the more sophisticated forms of jazz, particularly the solos of some of the better jazz drummers like “Papa” Joe Jones, Art Blakey, or Max Roach, to name just a few. Speaking about musicians in India, but applicable to African-influenced music, the critic Winthrop Sargeant notes that:
It often happens among Indian musicians that a vina player and a drummer will engage in a friendly contest to see which can confuse the other into losing track of the sam (the beat). . . . The vina player delights in apparently losing himself in the most abstruse counter-rhythms, leaving the listener with an utter sense of bewilderment, only to issue forth triumphantly at the sam again without a hair’s breadth of inaccuracy, and with a sparkle of obvious satisfaction.[3]
If you want to get a sense of this technique in jazz drumming, look at the YouTube video “Max Roach -Solos.flv.”[4] The second solo in that video is a particularly good example of this technique of obscuring the beat for a long time and then re-entering without missing a beat—a technique that is utterly foreign to most popular music today. In fact, the stronger and more obvious a beat is, the more likely are people to call the music “rhythmic,” which is a bit like saying, “2 + 2 = 4” and people responding, “He’s a brilliant mathematician!” So, whence comes this idea that a throbbing, pounding, obvious beat is especially “rhythmic”—let alone “primitive”?

In order to understand this, we have to go to Paris, the night of May 29, 1913, when Igor Stravinsky’s ballet The Rite of Spring was premiered. The ballet tells the story of a virgin in pagan Russia sacrificing herself to Nature for the coming of spring. At that time, primitive cultures were a common enough fascination for Western artists and intellectuals going back at least to Herman Melville and continuing through Gauguin’s sojourn in Tahiti. Margaret Mead’s 1925 trip to Samoa should also be included as a cautionary tale of how this Western fascination can involve a certain amount of wish projection.[5]

Now Stravinsky had no agenda, but those famous stabbing, pulsing chords in the Danse des Adolescentes section of The Rite of Spring, which the audience heard that night, were to become forever seared into our modern Western cultural consciousness as exemplars of “primitive rhythm.” To be fair to Stravinsky, this is one section in a very long work, and even these repeated pulse-like chords are accented at irregular intervals that give the rhythm a real subtlety. However, as great a work of art as The Rite is, in my opinion, its faux primitivism unwittingly inspired lesser talents to create everything from cheap slasher movie sound tracks to the mindless thumping of disco music (including, but not limited to, the Village People) to the hand-clapping in Queen’s tribal anthem, “We Will Rock You” (short-short, LONG, short-short, LONG), and a whole lot more.

It is almost as if our culture collectively said, “You see, this is what primitive people do, and we all know that they ‘have rhythm’!” But as I already established, many non-Western cultures have a much more sophisticated sense of rhythm than that. What developed was a musical caricature of the primitive. For example, take Stravinsky’s pulsating rhythm; speed it up a bit; amplify it; put it into the most predictable, symmetrical patterns; spike your hair; wear a torn T-shirt; and maybe vomit on stage for good measure and—voilà!—you have punk rock.

In her book Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music, Martha Bayles points out how punk rock was largely created by the impresario Malcolm McLaren. An English fashionista and art-school dropout, McLaren was in thrall to what Bayles terms “Perverse Modernism.” This can be summed up in the French phrase, Épater la bourgeoisie! (Shock the bourgeoisie!), which was a rallying cry among the Decadent poets of the 1880s. It continued through the perverse plays of Frank Wedekind, Dadaism, and into the Fluxus Movement of the 1950s. It was the notion that art had to shock, offend, and unsettle in order to be effective. In this case, popular music was commandeered as a platform on which to pursue this art-school philosophy. Interestingly, the black jazz trumpeter and music educator Wynton Marsalis has a somewhat similar take on Rap, calling it “ghetto minstrelsy.” He speaks of white “safari seekers” saying, “Let’s go into the ghetto and see what the natives are doing.”[6] His point is that in the nineteenth-century minstrel show, the “safari seekers” would have seen what they thought of as rather buffoonish, but lovable primitives. What such safari seekers are tempted to see in Rap today, according to Marsalis, are savage (but lovable, because they secretly want to be like them?) primitives who murder and fornicate without scruple. This is a harsh indictment, and, to be sure, his criticism tends to provoke strong reactions. Nevertheless, it may do this because it hits close to the target. I shall investigate the musical reasons why this may be the case later.

However, before we do this, we need to move on from the faux primitive to what I call the mechanical approach to rhythm. To this end, I will quote Roger Scruton again:
Rhythm plays with regularity, but is not reducible to it: the pulse is both counted and discounted. . . . even the most exact performer will imbue a piece with a minute rubato, and this rubato is the mark of a living organism—the unnoticed vacillation of the pulse. When this rubato is absent—as when someone plays in time to a drum machine or a metronome—it is precisely rhythm that is the primary victim.[7]
Here we return to the notion that musical rhythm is both measurement and movement. If its measurement is too exact, then it won’t actually move us in a human way. As Scruton says in another venue, “one note invites the next into the space that it has vacated.”[8] A note might coyly linger, creating anticipation for the next note, or more quickly cede, stressing the next note’s importance. There is a subtle give and take, just as in human relationships. Music is not strict geometry. When it is treated that way, it has a very different effect. Scruton observes, for example, that “the rhythm in Heavy Metal . . . is shot at you; the rhythm of the [eightsome] reel [on the other hand] invites you to move with it.”[9] He then goes on to discuss the difference between “at” and “with” and how profound this is in human relationships. For example, we all know the difference between a conversation with a close friend and the pushy salesman who talks at us.

One example of this phenomenon in music is the song “Bleed,” by the Swedish Heavy Metal band Meshuggah. It’s not only the song’s unrelenting fortissimo volume and the shouted vocals, but also the absolute rigidity of the accompanimental rhythm. Though there is measurement, there is no true relationship among the individual notes; they are isolated points, pulsations spaced along a timeline. They are like bullets, shot out at us from their evenly spaced places within an ammunition clip. This is why such music is often associated with violent, dehumanizing ideas and images. (I strongly warn against watching the very disturbing video associated with this song.) Or listen to the more anodyne Eurodance hit from the 1990s “What Is Love?” Again, it’s not just the computer-produced sounds; it’s the exactly measured computer-produced rhythms that create the feel of the hip yet impersonal world against which the singer makes his plaintive cry, “What is Love?” The presence of a humanizing, plaintive cry cannot be counted on in all such music.

While it has been common enough over the past century for moralists to decry the “sensuality” in some music, a fair amount of popular music of the past thirty or forty years lacks the rhythmic fluidity to be truly sensual. Often enough, its rhythm is machine-like and rigid. Though there will be the obligatory syncopations—all but required in contemporary pop music—they are the processed, reified product of the digital studio. They do not seduce or tempt. That would be an improvement. Rather, such rhythmic stiffness creates a more impersonal, “objective” effect. And this is also why such music inspires neither the ordered movement that the Waltz would, nor the more sensual, but still relational, movement that the Tango would. Such uncompromising rhythms do not encourage the subtle male-female negotiations, the give and take typical of couple dancing. In fact, as Roger Scruton has observed, it should not surprise us that what Punk, Heavy Metal, and Techno do inspire are “head-banging, slam-dancing, . . . [and] ‘moshing.’”[10]

This brings us to Rap. Where does it come from?

The only thing that we can say for sure is that Rap emerged in New York City in the 1970s, specifically in black neighborhoods in the Bronx. Rap’s musical origin seems to have been the joining of three distinct elements: 1) the beat-heavy faux primitivism of 1970s popular music, 2) the nascent mechanical approach to rhythm that would come to prominence in the 1980s, and 3) certain rhyming games and speech patterns common in African-American neighborhoods (think of “jive talk” and the poetry of Mohammed Ali).

As you can see, of these three elements, only the last is truly African-American. At its most effective, in Gangsta Rap in particular, Rap takes place against a pounding faux primitive beat, often employing that technological cookie cutter that is digital sampling, and couched in an unrelenting ostinato pattern. The effect can be that of Chinese water torture. You do not move with such rhythmic structures so much as submit to them, as one does to a good thrashing. It bowls you over—or you fight manfully against it. The only thing of any musical sophistication is that sometimes the rapper will chant the words in unusual rhythms against the beat, as in the quintuplet rapping of Eminem, in which the man vs. machine nature of the genre becomes most explicit.

How far we have come from the days of West Side Story (1957) when the kids were, or at least aspired to be, “cool.” Tough teenage delinquents though they were, the Jets and the Sharks strove for a certain cool unflappability, which had a concomitant flexibility as well as a natural grace to it. Gangsta Rap is not cool, it is rough, graceless and merciless—masculinity at its most unyielding. I realize that there are other types of Rap, but the tamer the subgenre of Rap is, the more it has the quality of a gimmick, like Fred Astaire dancing to the rhythms of the steam ship engine in Shall We Dance? (1937). While this certainly is entertaining, it is hardly something that would normally endure as a popular music genre for decades. No, it is the rougher, more authentic variety of Rap that holds most people’s attention because it speaks to them. We are dealing with a very significant cultural phenomenon.

Rap, simply put, often draws on the same sort of primitivist and, at times, perverse modernism that Punk and Heavy Metal do. In the final analysis, and despite most of its performers, it is only partially African-American in its musical makeup and hardly African at all. In my opinion, Rap does not even come close to that truly great product of African-American culture: jazz. Thus, the cultural significance of Rap’s deep and widespread popularity needs to be examined more carefully from the starting point of its actual musical structure, rather than from any politically correct (or even well-intentioned) views of ethnicity.

Finally, Rap seems to be a part of the general trend toward verbalism in the popular music of our day. Beginning at least with Bob Dylan, and continuing through Bruce Springsteen to U2, popular music has often been a venue for earnest poets and social critics of modest musical abilities. Dylan at least had the ability to craft a decent enough, tuneful melody; by the time we get to U2 all we have is eminently forgettable musical recitative. Rap drops even this pretense.

In conclusion, I want to stress that I have tried to delineate rhythmic trends in American popular music: the faux primitive, the mechanical, and the African. These are not the only trends, nor do they explain every single piece of popular music. However, these are major, significant trends. So my response to the question at the beginning of the article is that, because of the decline of African influences over the last half-century or so, only a small percentage of rhythm in popular music today could be considered musically “excellent.” On the other hand, the rhythm of much popular music today speaks volumes about where we are as a culture.

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Footnotes:

1. The Latin verb modulari does not itself mean “to move,” though it can mean “to dance” or “represent by dancing.” And the noun motus, as in the phrase dare motus, can refer to “dancing.”

2. Roger Scruton, The Aesthetics of Music (New York: Oxford University Press, 1997), 480.

3. Quoted in Philip Ball, The Music Instinct (New York: Oxford University Press, 2009), 222.

4. Max Roach Solos (YouTube) (http://youtu.be/F_voXNIsobs)

5. See Derek Freeman, The Fateful Hoaxing of Margaret Mead: A Historical Analysis of Her Samoan Research (New York: Basic Books, 1998).

6.Bill Milkowski, “Wynton Marsalis: Wynton Throws Down the Gauntlet,” Jazz Times, April 1, 2007.

7. Scruton, Aesthetics of Music, 24–25. (https://jazztimes.com/features/wynton-marsalis-wynton-throws-down-the-gauntlet/)

8. Roger Scruton, “Music and Morality,” American Spectator, February 11, 2010.

9. Ibid.

10. Ibid.

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Source: Kurt Poterack, "The Rhythm of Popular Music: Primitivist Slumming in a Machine Age?", Principles 4, no. 1 (2018), accessed December 27, 2018, https://www.getprinciples.com/the-rhythm-of-popular-music.

Kurt Poterack, A People Without Melody



As a college music professor, I am asked from time to time by students what I think of this or that popular song or songwriter. Lyrics aside, I like to think that I can speak with some authority on the music itself, having a masters and doctorate in music composition. At one point I decided that I would sit down and do some careful listening to current top-forty songs and write brief critiques of them. I did this over a period of several years. One thing struck me continually and almost without exception; I felt like the old lady in the 1980s hamburger commercial who would exclaim, “Where’s the beef?”

Except that I would exclaim, “Where’s the melody?” Over and over . . .

Perhaps I should clarify that when I say “melody,” I mean a tuneful melody—the kind that popular songs used to have in abundance. In fact, this used to be the hallmark of the popular song. I am speaking about the sort of melody that has a winsomeness to it, even a portability. Such a melody is one that is so appealing that people want to “carry it with them,” sing, hum, even whistle it while they are driving to work, doing the dishes, folding laundry, etc.

Indeed, such a melody is generally something that the non-professional can sing unaccompanied. Even though there may be recordings of such a song by professional singers with very elaborate instrumental accompaniments, this is not the only way that it can be performed. The melody makes sense by itself. A tuneful melody is going to have a shape, a waxing and waning, a rise and fall of the pitches, a focal point or two, and a long-term forward motion from note to note to note to its logical conclusion. A good melody has, as Aaron Copland once famously wrote, an “inevitability.” This logical shape is what makes it beautiful and, therefore, desirable.

It is my determination that after about 1970, such melodies went into rapid decline; after about 1980, they almost ceased to exist. Why did this happen and what, if anything, does this say about modern society and cultural mores? Is there a connection between music and the way people live, between the way artists live and the sort of music they create? These connections between art, artist, morality, and society are things that philosophers have mused upon at some length, so let us briefly explore them before we return to our specific topic of popular song melodies.

First, there is one thing that we need to get out of the way.

From time to time I hear from fellow cultural conservatives, no doubt over-interpreting Plato, that a man of bad character cannot help but create music or art that reflects the disorder in his soul. Likewise, a man of good character will necessarily create music or art that reflects his ordered soul. I call this “ad hominem music criticism.” It is a very dangerous approach. While this view can end up being correct in particular cases, without proper nuance and formulation, it is overly simplistic. It can lead to absurd conclusions that do not correspond to reality.

As is often the case, much light can be shed on difficult questions by turning to that great medieval philosopher St. Thomas Aquinas—particularly the distinction he made between Art and Prudence. Both involve the perfection of the Practical Intellect. However, unlike Prudence, which has as its end the good of man (i.e. morality), Art has as its end the good of the work itself. As the twentieth-century expositor of St. Thomas, Jacques Maritain, wrote, “if a craftsman contrives a good piece of woodwork or jewelry, the fact of his being spiteful or debauched is immaterial, just as it is immaterial for a geometer to be a jealous or wicked man, if his demonstrations provide us with geometrical truth.”[1]

To expand upon this, one could say that in order to produce a great work of art, one has to possess three things: 1) a developed talent; 2) the desire to produce a beautiful art work—even if simply to please one’s patron or the public; and 3) the tools, materials, and forms that his culture has given him with which he can properly express such beauty. Thus a skilled artist who wants to paint a beautiful picture of his current mistress, and who lives in a culture that has a tradition of beautiful art, will most likely succeed. The fact of the profound moral ugliness of his unfaithfulness to his wife will probably not impede his ability to paint a beautiful portrait if this is what he wants to do.

However—and this is key—sometimes, for a number of reasons, specific artistic techniques fail to be transmitted so that artists can no longer express certain feelings and ideals even if they want to do so. Thus, such a culture can no longer even be hypocritical. For example, the people in such a society might less and less want to feel love, honor, and tenderness, even as ideals to strive after, since they are no longer represented in their art and music. (And, consequently, artists will be even less motivated to preserve the techniques by which these things are expressed.) At the very least, you can tell what a society idealizes in general by studying its music, and I have long thought that a music theorist can be an effective diagnostician of a culture’s soul.

This is still rather abstract; so, let me make it more concrete by taking the reader on a brief tour of American popular song. Essentially, American popular music begins with Stephen Foster in the mid-nineteenth century. Many of his songs are mistaken for folk songs, even though Stephen Foster was a paid professional who wrote his songs for professional performers who sang them in minstrel shows. While most of his songs have the purity and simplicity of folk-song melodies, his “Jeannie with the Light Brown Hair”—for example—approaches the level of a Schubert art song, betraying Foster’s training at the hands of the German-born music teacher Henry Kleber.

After Stephen Foster, there is a long fallow period that spans the turn of the century, during which vaudeville and Tin Pan Alley produce many trivial, forgettable songs. Even the memorable ones, such as “Sidewalks of New York,” have a quality of sentimentality that date them.

In the mid-1920s, we have the beginnings of what is later termed the era of the Great American Songbook. Some argue that this era ends about 1950, others say about 1960. These songs are mini-classics and transcend their era. Almost all of the major songwriters of this time, such as Jerome Kern, George Gershwin, Harold Arlen, Richard Rodgers, and Cole Porter had classical musical training. I like to point out that Cole Porter, a very “naughty” man, even aside from his sometimes suggestive lyrics, nonetheless studied harmony and counterpoint under Pietro Yon, a man who went on to become chief organist and choirmaster at St. Patrick’s Cathedral in New York City. This is probably one of the last times that a traditional church musician and a popular songwriter drank together from the well of classical musical culture.

Of course, not all songs composed during this era actually belong to the Great American Song Book. There were many inferior composers who had short-lived hits. Many of these songs were average; quite a few were sentimental and corny. Going into the 1950s there is the phenomenon of the “novelty song,” of which Patti Page’s 1953 hit “The Doggie in the Window” is probably the best-known example. However, as terrible as it was, it was a singable melody that could stand on its own two (albeit, corny) feet. During this time there is also the emergence of two important movements: Rock and Roll and the American folk-music revival.

These two movements continue into the 1960s and much has been written about them elsewhere. Many have noted John Lennon and Paul McCartney, who had a song-writing talent that put them beyond many of their rock song–writing colleagues. However, as talented as they were, they often get classified with what is sometimes called the “Kiddie Pop” of the era. The “Adult Pop” of the 1960s, represented by such songwriters as the Bossa Nova composer Antônio Carlos Jobim and the American Burt Bacharach, produced tuneful and harmonically sophisticated popular songs. Jobim had been influenced by Claude Debussy, Maurice Ravel, and the Brazilian classical composer Heitor Villa-Lobos; Bacharach had a Bachelor of Music degree and had studied composition with the twentieth-century classical composers Henry Cowell and Darius Milhaud.

So, by the end of the decade there was reason for hope that the 1970s might go reasonably well. Even if the Great American Songbook era was formally over, the Great American Melody continued to be written. While it was not only Americans who composed these melodies, nonetheless, American audiences still seemed to enjoy a beautifully written melody—at least as a part of their “listening diet.” Something different, however, happens during the 1970s. In 1970, the number-one and number-two popular hit songs were “Bridge over Troubled Water” and “Close to You”—two well-shaped, tuneful melodies. By the end of the decade, in 1979, the top two pop hits were “My Sharona” and “Bad Girls”—both rather profane dance numbers. To be fair, these songs work in their own way because of their focus on an energetic rhythmic accompaniment and a strong beat that made them attractive to dancers. Melody, however, is a secondary element in these songs. Indeed, in “My Sharona” the melody seems to serve as a mere accessory to the driving accompanimental rhythm, which takes center stage.

This situation continues through the 1980s and beyond. Even though disco may have died, the emphasis on dance music continues as most pop hits have strong danceable rhythms, but very few have tuneful melodies that can stand on their own. The late George Michael’s 1984 hit “Wake Me Up Before You Go-Go” is a fairly typical example: a song with an attractive, bouncy rhythm, the whole focus of which is a four-measure melodic “hook”[2] which is repeated endlessly throughout the song. Not a dance tune, but surprisingly similar in its basic technique, is the 1997 hit ballad “My Heart Will Go On” from the movie Titanic. It has an even weaker verse melody, essentially a teetering back and forth between two principal notes, until it gets to the short bombastic refrain which, repeated ad infinitum, is meant to grab you by the collar with its emotional bid—before sinking back into mediocrity.

Ironically, at this time the influence of Broadway, long a source of tastefully written, tuneful ballads, begins to dry up—but for very different reasons. Beginning in the late 1960s, Broadway composers seemed to want to get more sophisticated. Even if they used popular styles, many of these composers started to conceive of their musicals as mini-Wagnerian music dramas, with every single line of text set to seamlessly composed music out of which few, if any, tunes could be extracted. The “hit-tune approach” of Broadway’s recent past began to seem very déclassé to them. In fact, the long-reigning doyen of Broadway composers, Stephen Sondheim, has produced few actual songs over his long career—the gorgeous ballad “Send in the Clowns” being, perhaps, his most notable exception.

What I marvel at these days is the seeming inability of many pop songwriters to write even an eight-measure phrase—probably the most basic phrase length in music. To take Adele as an example, most of her songs consist of the stitching together of four-measure units made up of one melodic idea, repeated over and over. To be fair, this is part of her technique to create a kind of a hypnotic effect, and she is not alone in this. I call it the “four-chord mysticism,” because, usually, each four-measure unit consists of four chords, repeated over and over like a mantra. (Although, sometimes I wonder if she actually could write a traditional ballad if she ever had the desire to do so.)

At any rate, try singing her “Rolling in the Deep” without the recording; you would likely start getting bored by the third iteration of that opening four-measure motive. The reason her performance of it works is that, through the addition at strategic points of instruments, back-up singers, and variations in her voice, a sense of build and forward motion is created. Oftentimes she later introduces a contrasting, repeated melodic motive, but the point is that the melody itself does not have much of a shape and sense of forward motion. It is the professional arrangement that creates this.

Finally, let us speak of the phenomenon of rap. Like it or hate it, raps are not songs, properly speaking, because there is no melody. Rap involves the rhythmicized speaking of words against a strong, steady beat. Indeed, there is usually a four-measure, repeated musical accompaniment in the background, although I would argue that this is not constitutive of the genre. Putting aside rap’s often morally noxious lyrics, I would make one basic observation: it should not be surprising that a culture, with an already-weak sense of melody, would elevate to such a high level, within its popular musical culture, a genre totally bereft of melody.

With rap, we may have finally bottomed out.

Before I conclude, I should stress that I am not promoting any particular style or era when I speak of the well-crafted, tuneful melody. My ecumenical canon would include such songs as “Beautiful Dreamer,” “Blue Skies,” “All the Things You Are,” “Stella by Starlight,” “But Beautiful,” “Somewhere,” “The Sound of Silence,” “Yesterday,” “Windmills of Your Mind,” “Bridge Over Troubled Water,” “Killing Me Softly with His Song,” and “Just the Way You Are.” These are only a few examples of songs that you can both enjoy your favorite artist singing and sing on your own, because these songs make sense as pure melodies.

So, what does it all mean—this clear loss of melody in today’s popular song? I almost don’t want to answer the question, but just let the profundity of this accurately diagnosed symptom sink in. I am more a musical technician than anything else, but it is clear to me that the loss of the lyricism of the well-written ballad, and the human values that it represents, is itself a major travesty. How could it be otherwise?

What I also see is the loss of almost any connection between the wisdom of the classical art music of Western Civilization and modern popular music—something that was not the case even a generation ago. There was a time when popular-song composers such as George Gershwin and Duke Ellington looked to the long forms of classical music as a means of liberation from the thirty-two-bar song form so prevalent in the popular music of their day. I can only imagine their dismay if either were alive today to see how some pop musicians have freed themselves from the tyranny of the thirty-two-bar song by creating . . . the four-bar song![3]

But this loss of long-term musical thought is also connected to the fact that few ordinary people participate meaningfully in music anymore. In the past a person of average musical ability could both enjoy listening to Nat King Cole sing “Mona Lisa,” and enjoy singing the melody on his own; fewer people today would want to sing one of Ariana Grande’s latest hits unaccompanied. Even if one enjoys her oeuvre, there is really not much melodic pleasure to be had from her music because, whatever else can be said about her, her tunes have little shape.

Popular music is now a kind of voodoo that is practiced on a very distracted, mute populace. People don’t listen closely and are, instead, subliminally induced to feel a limited number of musical emotions: the feeling of being hip, urban, gritty, sexy, funky, soulful—perhaps even a short-lived elation—before they move on to other distractions. Only a few substitutions are allowed. For example, if you want to substitute “country” for “urban,” a banjo and a few twangs will be thrown in, but the music will be surprisingly similar. You will almost certainly experience neither true musical lyricism, nor well-crafted, musically intelligent, beauty. Also, you will definitely not be given a well-shaped melody that you can take home with you and sing on your own. The superstar performer almost always has to be a part of the package.

The sad thing is, as far as I can see, too many people are content with this state of affairs.


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Footnotes:

1. See Jacques Maritain, The Responsibility of the Artist (New York: Charles Scribner’s Sons, 1960), 23.

2. A “hook” is a short melodic passage in popular music meant to catch the listener’s attention in a conspicuous way. It is to music what a red dress is to women’s fashion.

3. A measure (or “bar”), which is a grouping of a specific number of beats of music, is the standard way in which song length is calculated. Since the 1920s, the typical popular song has had a musical length of thirty-two measures. This thirty-two-measure musical unit is then repeated several times with different lyrics each time. To get an idea of the newer four-bar “McSong” approach, listen to Adele’s “Hometown Glory” or Mumford and Sons’ “Dust Bowl Dance” – to give just two examples of a common enough phenomenon.

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Source: Kurt Poterack, "A People Without Melody," Principles 3, no. 2 (2017), accessed December 27, 2018, https://www.getprinciples.com/a-people-without-melody.