Things have been notably quiet on the blogging front, which is par for the course in PhD-land. But since I’m currently re-installing MATLAB, now is the perfect time to share a few thoughts on applying to and funding graduate school, right? This is something to which I conspired approximately eleven months ago and now it’s seasonally relevant again! Excellent.
There is already a lot of really good information on choosing a topic, a city, a department, and a supervisor out there, so I am mainly going to address my own experience as a Canadian making it work in the UK. I also touch upon the unique situation of being someone with a bachelor’s degree in music looking at interdisciplinary or science-oriented programs. I should add that I did not apply to any American schools, and can’t speak to the GRE score or process. But it sounds miserable. So, here are some topics that I’ve been asked about, and some that people rarely bring up to me, but that I think are really important.
I realise from the Contents that I’ve framed much of my thoughts in financial terms. Please believe when I plead this in no way reflects my own views on the natural order of things, but rather is a consequence of the sad reality of austerity and late capitalism punishing the rest of us for not pursuing material gain over knowledge, art, the environment, personal betterment, etc. If you’re feeling TL;DR, scroll to #4, wherein I discuss what I think is the single most helpful strategy that shockingly few people actually seem to do.
- Paying for Your Course
- Someone Else Paying for Your Course
- Improve Your Odds of Someone Else Paying for Your Course
- The Importance of Being a Random Internet Person
Continue reading “Applying to Grad School in Europe: A Guide for Canadians (and/or People Who Like Music and Science)”
From his work with Common, Q-Tip, and A Tribe Called Quest, to gigs with Kenny Garret and Kurt Rosenwinkel, not to mention a Grammy win with Robert Glasper, drummer Mark Colenburg’s resume speaks to his virtuosity and innovative approach to rhythm. I’ve admired his playing for a long time, so I was very pleased to find that he is interested in rhythm cognition and was happy to share some thoughts on his mental and physical strategies as an elite musician and timing specialist. Life as a trainee scientist has been heavy (in a good way) lately, so this piece is a long time coming. Thanks for staying tuned!
ADM: I know you started out really young, but as you developed as a musician, were there any particularly difficult concepts or techniques (e.g., a feel, or maybe a specific series of movements) that come to mind? What was the breakthrough? Was there a mental strategy, a movement, or maybe something like a mnemonic that helped you to finally ‘get it’?
MC: Yes, I did start at the very young age of two. Early on in my development (which is continual), everything seemed difficult. The concept of single strokes, double strokes, and triple strokes, playing those patterns with drumsticks on a floor, was very challenging but so intriguing at the same time. Independence between my limbs, conviction, and tempo control are just a few other challenging concepts that come to mind. My strategy to overcoming some of those humps were intentional quality, effort, learned and unlearned exploring, and time. Using those strategies really helped me to establish a strong foundation mentally, physically and spiritually. Continue reading “The Metacognition of Drumming: Interview with Mark Colenburg”
This interview is the first in a series I’m calling “The Metacognition of Drumming”. Getting musicians to speak in concrete language about performance and other forms of musicking
is notoriously difficult, but it’s crucial that artists, scientists, and amphibians dissolve our hard disciplinary edges. To this end, I will share my conversations with drummers (and maybe a lucky few non-percussionists) in an attempt to articulate these very non-wordy things we do when we play music together.
is a Vancouver Island institution, a fabulous musician, and a stalwart friend. I’m sad we don’t jam so often since I moved to England, but I’m grateful we could exchange some thoughts on the types of cognitive/active strategies drummers use here. If any readers have a perspective they’d like to share, drop me an email
! And stay tuned for the next edition, featuring Robert Glasper Experiment drummer, Yamaha-sponsored artist, and Grammy Award-winner Mark Colenburg
ADM: What is your approach to groove, both as a drummer and as a teacher?
JM: All music has to feel good. If it doesn’t feel good, people are going to turn away! How much of this is based on groove? A lot, probably. The feel changes based on the tempo. Steady tempos are great, but having metronomic time seems more artificial than natural.
Continue reading “The Metacognition of Drumming: Interview with James McRae”