koganbot: (Default)
I found it! Live recording from the Pittsburgh Jazz Festival, 1965, Duke Ellington "Second Portrait of the Lion," first track I heard affixed to the word "jazz": instrumental (so to speak) in fixing in my brain the idea of jazz as quick notes in a pointillist haze.



(Surely I'd heard jazz previously in movie scenes and on TV shows: lounge singers and their accompanists, as private eyes and wise guys pass through. But not part of my sense of a genre "jazz.")

[This is in regard to my post here (The Elephant And The Giraffe) (or in deeper context at Freaky Trigger) regarding my teen jazz tokenism, and the strange early appearance of the Duke.]
koganbot: (Default)
Reblogged this from Dave over on Tumblr, adding my comments.

My school started using a blended curriculum model (which I won't name here) recently, and I have a lot of thoughts about it, some pro- and some anti-, none of which would be totally appropriate for me to share here yet. The one thing that it has undoubtedly done, though, is dramatically improve our math curriculum.

In the pre-blended days, our long-suffering but talented and enthusiastic math teacher would randomly pull from a grab bag of mathematical concepts and subdisciplines – geometry, trigonometry, algebra, repeat – trying to patch together a satisfactory sampler of mathematics to students who very often had significant gaps in even their most basic math knowledge. "You have to get 'em when they’re young," she says, sadly, so often.

Now we have an integrated math curriculum, where students re-frame some of their understanding of math to tools that will be more broadly applicable to different mathematical problems: identifying patterns, creating spreadsheet tables, graphing data. These are all skills that I use, more or less, in my day to day work and life &ndash you could use these tools to find significance in a lab experiment or organize your taxes, say.

So that's good. And yet there's still a kind of fog of specialization running through this integrated math; students still learn concepts they'll soon forget, and I find myself dumbing down my "so what" talks so that they'll just remember the difference between a domain and a range, or a mnemonic device to help them find the slope of a line.

It seems to me that there is something very deeply wrong with the whole concept of mathematics at a pedagogical level, and I think the problem with it is the way in which teaching math outside of meaningful applications of that math doesn't even provide some of the basic building blocks of what you'd need to apply it later. Some of the ways we teach reading suffer from this, but at some level the pay-off of knowing how to put letters into words and words into sentences at least has some obvious, immediate value. The higher level meaning-making of literacy is a lifelong project, and subject to constant, frustrating backpedaling, sometimes among very smart people for no reason other than general cognitive biases. (It's amazing, for instance, how your reading comprehension suffers when you really don't want to change the ideas you had coming in.)

But at some level, I understand at least the connection between learning the basics and applying the basics to some other thing – reading a newspaper, scrolling through a Facebook feed, even. I have a harder time seeing that much "higher" a level in mathematics than learning some baseline of competencies.

I think of the non-fiction books I've read on innumeracy, probabilistic thinking, other "mathematical errors" that so many people make, especially when interpreting or conveying their understanding of data. But in many of these cases, what's being described is the breakdown I mentioned above, a way of tactically, if perhaps subconsciously, not understanding something because you don't want to, not (just) because you can't. I think of someone like Nate Silver, lamenting the inability of journalists to convey his site's probabilities in a way that is true to how they're actually presented. But such inability doesn't necessarily speak to some breakdown in the way in which that person learned math. That person can likely do their taxes, use a spreadsheet, figure out the slope of a line if they really needed to. The breakdowns that I most commonly read about are of a kind with reading incomprehension more than they are of innumeracy.

This is a meaningful distinction for me as I work with lots of kids with genuine innumeracy &ndash it just doesn’t look like “dumb analysis” or shallow thinking. It looks like students who really can't calculate numbers, are unable to estimate or make mathematical inferences at a level far beyond misunderstanding or mischaracterization. It is closer to what it looks like when a student can't read a sentence, can't put the words together, than what it looks like when a student uses a poor argument to make their point.

The thing that makes this frustrating for me is that I genuinely have no idea what math should look like. I have at least some inkling, some model, some research, some something for how I understand and imagine almost every other school subject and its relevance to student outcomes. I know what I know, I know what I don't know, I have some provisional thoughts about where to go with it, where it works and where it doesn't. But math continues to totally perplex me. (And I now know, as someone who has developed about as much understanding as you’d need to teach all of the math at my school, that the problem isn't just that I suck at math.)

This is the best post I've read all year (at least, best post in the category Something Positive And Just Plain Fun To Think About Even If The Underlying Problem Is Frustrating And Depressing). I may take a while to give this the response it deserves. I wonder if there's a way to get Duncan Watts and Brad DeLong to read it. I think you're completely right that the problem in a lot of what’s called "innumeracy" is bad reading or listening comprehension rather than an incapacity with numbers.

What I'd hope to explore further, though, is that a possible way to connect two areas of intellectual breakdown (or for that matter intellectual success) is through the idea of "logical inference": you say X, someone correctly infers that you must also believe Y but that you haven't implied anything one way or another about Z. Whereas you say X and some others — Maura Johnston or Simon Reynolds, say — incorrectly infer Z, which they've spent the last ten years happily refuting, and BOOM BOOM BOOM. It isn't just that they don't want to understand you; there's actually something askew in their cognitive apparatus. Of course, if they really do want to understand, or one of their friends wants them to understand, they might eventually get it right — bad logical inference isn't an on-off switch, it's more like a dimmer.

But isn't logic something of a bridge between at least some of math and some of the verbal? That's what I'd like to think more about.

I'd put bad logical inference as the core of communication breakdown and bad critical thinking. But logical inference can be taught, at least somewhat. People get better with practice.

koganbot: (Default)
Remember five years ago we were talking about Japanese freestyle? [profile] davidfrazer clues me in to further developments: Fairies "HEY HEY ~Light Me Up~."



The speedbeats and basic pounding rhythm are from '90s Eurobeat, but the doleful melodies are freestyle, so are the hooks (freestyle and Italodisco), not to mention the screeching-brake intro and the "HEY hey hey-hey HEY hey hey-hey HEY— HEY hey hey-hey HEY hey hey-hey HEY" electro-stutters at the start, and the mournful chordings and the "oh oh-oh" vocal riff that come between the brakes and the heys.



[UPDATE: Had a full-length live version embedded above, but YouTube killed it; fortunately, six months down the line, AVEX put forth a full-length dance rehearsal version, which I've embedded in its place.]

Here are some vintage 1980s–early '90s freestyle tracks, to give you an idea what I mean by the term.*

New York:

Cover Girls "Inside Outside"

Judy Torres "Come Into My Arms"

Cynthia "Change On Me"

Lisette Melendez "A Day In My Life (Without You)"

Miami

Debbie Deb "When I Hear Music"

Sequal "It's Not Too Late"

Company B "Fascinated"

*The genre "freestyle" is not to be confused with "freestyle" in hip-hop, which refers to live, improvised or at least off-the-cuff raps.

[UPDATE: David Frazer has now found out that "HEY HEY ~Light Me Up~" is a cover of Vanessa's 1993 Eurobeat track "Hey Hey" (Vanessa likely being Clara Moroni under another name), the Fairies' version not straying far from the original. See David's comment below.

I learn from Wikip that, while the term "Eurobeat" has had many uses, by 1993 it was mainly referring to Italian Italodisco-derived tracks selling almost exclusively to the Japanese market. This song is still definitely, overwhelmingly freestyle, at least on top, with Eurobeat underneath. Of course, Italodisco and freestyle took on each other's characteristics.]

koganbot: (Default)
Japanese freestyle — is there a lot of it? I wouldn't know. Just glad that the style, which is pretty much gone from U.S. airwaves, is still strong in Asia.

(h/t [livejournal.com profile] arbitrary_greay, of course)

Tomato n' Pine FAB ("Free As A Bird")


The rhythm is simply a hopped-up electrobeat,* not freestyle's fast twists and breakneck turns, but the melody, at least in the verse, could have come out of NYC or Union City, 1987. Like this:

Maribell "Roses Are Red"


Also, in the midst of this week's Brave Brothers discussion I discovered a freestyle riff right smack center in the debut days of After School, 2009:

After School "Play Girlz"


*[UPDATE 2018: I didn't know it when I made this post, but the correct term for the rhythm is "Eurobeat" (a term a couple readers use in the comments); but FAB's melody resembles freestyle in a way that most — but not all — Eurobeat doesn't. (I say "not all" given that Italodisco itself was in interplay with freestyle and feeding this into Eurobeat.) The term "Eurobeat" has had several uses over the years, but the one relevant to this post is an Italodisco-derived sound in the early to mid '90s that sold almost exclusively in Japan, though some producers and performers were Italian. The beats move fast at '90s speed, though, unlike vintage Italodisco.]

Profile

koganbot: (Default)
Frank Kogan

December 2025

S M T W T F S
 123456
7891011 1213
14151617181920
21222324252627
28293031   

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Jan. 5th, 2026 08:42 pm
Powered by Dreamwidth Studios