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Breaking Barriers in Music Research | MIT news

Breaking Barriers in Music Research |  MIT news

 


Ethnomusicologist and music analyst Leslie Tilley likes the idea of ​​blurring genres and appreciating the beauty in all music.

There are appealing things to be found in every style of music. I’m constantly surprised by what you can do with music, and that’s my favorite thing: to keep being surprised, says Tilley, an associate professor of music at MIT. Music is endlessly creative.

But what about her personal musical tastes?

That’s the hardest question you can ask a musician, Tilley says with a laugh.

I’ll listen to anything, she says. My alarm clock this morning was the Dvoraks cello concert, and then I went for a walk listening to Bad Bunny. I like to listen to flamenco music and then talk to people about gamelan.

Crossing the boundaries of music research

Tilleys own musical repertoire is as extensive as the scope of her ethnographic research, which examines the inherent processes and unspoken guidelines that govern improvisation. Through her research, Tilley is doing her part to break down barriers within the field. Tilley was recently awarded the prestigious Emerging Scholar Award by the Society for Music Theory for her book To do it together: The art of collective improvisation in Balinese music and beyond. The honor is of particular note given that Tilley is not a music theorist.

Because I’m an ethnomusicologist who does music analysis, which is a smaller group of ethnomusicologists, I always felt like I was pushing boundaries, she says.

That’s why she says this particular award is so nice not just for the recognition of her work, but because of what it says about the walls that fall within the world of music research.

That music theory decided to give a prize to an ethnomusicologist who studies Balinese music and using a lot of Balinese and Indonesian music and ideas, it says really great things about what’s going on in the field and how the divisions are fading, or breaking down by many researchers, not just me, she says. There are many people who cross the boundaries of these different subfields.

Tilleys book was published in 2019 and was the culmination of years of research.

The book is about creating language so that people studying different improv traditions have a unified framework to talk about them that didn’t exist before, she adds.

Tilley says that while writing the book, it took him in directions he didn’t expect.

What I learned was where all the intersections are if you zoom in a little bit more, she says. That there are all these amazing scientific intersections where I know people who write about literature or people who write about the brain and models. And all of these things can influence how I think about what musicians are doing. And that was really, really exciting for me.

Learning music with the letter M

Since joining the MIT faculty in 2015, Tilley has shared her passion for a variety of musical practices with students. She has led the MIT Balinese gamelan and teaches courses such as 21M.030 (Introduction to World Music), 21M.051 (Fundamentals of Tonal Music), 21M.500 (Advanced Seminar in Music), and 21M.292 (Music in Bali). Tilley says she designed her course 21M.053 (Rhythms of the World) as a reimagined foundational music course that explores musical concepts as cross-cultural and cross-genre phenomena: a chance for students to learn about music with the letter M. .

One hundred percent of people in the world are involved in music in some way, she says. And so, (the students) all come with their own expertise. In a class like Rhythms of the World, where there isn’t a specific tradition I’m teaching them about, they can bring their own expertise. They can bring their life experience into that space, and then grow from there. And then engage with other people’s life experiences in ways that are very personal within the music.

One of her favorite parts of teaching is when she asks students to analyze a piece of music they are interested in using the concepts and structures they learned in Rhythms of the World.

They’re listening to anything and everything you can imagine, she says. Every semester I discover something new and interesting that I didn’t know before, or an interesting style of music just based on what my students are listening to.

Exploring cover songs

Tilleys current research project is a book examining cover songs. She says that while this may seem like a left turn, it’s actually an extension of the research she’s been doing throughout her career.

What I’m interested in is: How do people take a musical thing and do something with it, and how do we think about transforming that thing? How does a musician take something and turn it into something else? And how can we talk about it in useful and multifaceted ways? she said. Considering the music itself, considering the musicians who are making it, considering the idiom from which it comes or goes. Considering who receives it and how it is received. And how does all of this affect what that transformation means?

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