What exactly is music literacy?

After thinking about the last sentence in my post titled, “High profile music journalists from the surrounding Ohio area speak with OU students” I have pondered what music literacy actually means. The panel of music journalists stressed that music literacy is the key. But what are they actually talking about?

Before the topic of music literacy was discussed by the panel, my impression of the phrase related more so to the understanding of sheet music or actually knowing how to play an instrument. Maybe my opinion is biased because I am a musician. The panel, however, did not mention these qualities. They focused on the idea that music journalists should be familiar with the music industry, its history, and where it is going, to be musically literate.

To gain a better understanding of the phrase “music literacy” I spoke to Dana Stewart, one of the panelists from the Columbus Metromix, again to dispose of any confusion. Stewart agrees that some understanding of music theory is to some degree important. “You'll have more to write about and have more to talk about in an interview. On the other hand, I don't think it's good to write too much with a music theory emphasis because it can get too technical and wordy,” Stewart said.

Stewart’s friend, Allison Smith, who was an OU music major felt music literacy refers to the ability to read sheet music because the word “literacy” literally means being able to read.

“An understanding of music literacy in the sense that my friend said is these days being pushed more and more to the side because rock music isn't based on sheet music as much as classical music was. That's why I think it's not the right word or phrase for what we were talking about,” Stewart explained.

By combining the comments made by Stewart, the other panelist and Smith, music literacy can encompass an understanding of the history of rock music along with music theory to enable a music journalist to report as best as possible the sounds they are hearing.

As an OU alumna, Stewart diversified herself by taking a history of rock class, a jazz history class and folk music history class along with piano classes and choir participation to feel more equipped as a music journalist.

Stewart commented, “I think it helps a music journalism career if you've at least dabbled with some sort of instrument because I think it gives a person a better appreciation for how much work it is to write a song and then to play it, record it and then tour or make a profit off of it.”

Defining music literacy is some what of an ambiguous task, as we have seen from the different viewpoints of Stewart, the rest of the panel and Smith. The important part to take away from this deliberation, however, is the idea that to be an effective music journalist, the combination of music theory basics and knowledge of the history of music can enhance the way we write about music.

-J-

High profile music journalists from the surrounding Ohio area speak with OU students

Music and journalism collided this past weekend with a music journalism panel followed by a battle of the bands presented by OU’s ed2010 and SPJ. Andrew Whitman from Paste Magazine, Jeff Niesel from the Cleveland Scene, Joel Oliphint from The Other Paper and Dana Stewart from the Columbus Metromix visited campus to discuss the music journalism industry and offer advice to aspiring journalists.

Of course online journalism was a hot topic at the panel. Stewart began by advising the audience to find a way to market yourself online by pitching stories that would work in print and online. The online world has enhanced music journalism by allowing audiences to listen to a song while reading a review of the artist. Because of this fact, music journalists must provide more depth when writing an album review. The reader needs to learn more then just what they would from simply listening to the song.

I never thought the vibe in a room could go from an energized, passionate level, talking about the thrill music journalism brings to these people, to a disturbing reality that making a decent living as a music journalist is next to impossible. Additional freelance was a major trend among these journalists to make a decent living. An important thing to remember, however, is that money was not driving any of the panel members to write about music. It was the passion behind it all that inspired them to continue with this low paying career.

Just as music journalists evaluate the quality of an artist’s performance or album, the panel informed the audience how to write a good music story reviewing that artist or album. Niesel advised, “Develop a critical voice so it does not sound like a press release. Write about it creatively so that people know it is coming from an outside perspective.”

The final advice of the panel is to educate yourself with a general knowledge of where the music industry has been and where it is going. Music literacy is key.

-J-

Song of the week: “The Underdog” – Spoon (Band recommended by the panel)