The idea for this entry started as a response to Dino Manrique (a.k.a. noid) and his comment on my post, “A Musician’s Fear and Loathing of Mathematics” which I posted on his website, filipinowriter.com.
Imagination and the Right Brain
Submitted by noid on December 12, 2007 – 4:17pm. An example of our school system’s — and our society’s’ for that matter — over-emphasis on left-brained modes of learning. That’s why creatives/right-brained individuals often feel left out or marginalized. The ironic thing though is that right brain/intuition is indispensable to genius. More than a handful of quotes, for example, have been attributed to Albert Einstein regarding the importance of the imagination: Quote:
I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.
Logic will get you from A to B. Imagination will take you everywhere.
To raise new questions, new possibilities, to regard old problems from a new angle, requires creative imagination and marks real advance in science. I, myself, am just finding this out. Am now more fascinated with math and science than I ever was in school, knowing that these fields can actually be approached from a more artistic perspective. Long live the right brain! 🙂
I agree with your observation about the focus of society and schools on left-brain modes of learning. Math and science do exist in the realm of logic but every new theory and invention was born of creativity and ‘thinking out of the box’, possible only by way of the right brain.
What if we switch it around? Can we say that it’s possible that the arts can be approached in a more logical perspective? Certainly, music can be analyzed structurally and this requires logical skills. There is, in fact, a subject called “Forms and Analysis” where a piece is dissected by measuring harmonic and melodic pitch intervals and, by using certain systems (like the diatonic system — major and minor, for example), predicting the music’s movement in relation to the tonic (or where it originated). It’s almost mathematical, this analysis. One can argue that music can be regarded logically “after the fact”, once it already exists; but what of the composers who intentionally employ mathematical concepts into their music, just as he would elements like timbre or dynamics?
I’ve met musicians of all sorts. That many are strongly right-brained comes as no surprise. They use intuition to create or interpret music, and are more likely to be innovative in their approach. But there are also quite a few, composers and performance artists alike, who are strongly left-brained. Not surprisingly, they’re the ones who excel in the analysis of musical form. They sight-read music faster, are able to interpret musical symbols more efficiently. However, one sort lacks what the other has: which could explain why ‘Forms and Analysis’, a subject where only a few breeze through and the others come out of crawling, is one of the most dreaded at the U.P. College of Music; and why not all performance artists, no matter how superb their technique, are said to have ‘heart’.
Of course, the happy exception would be the musicians who have balanced right and left brains. Possibly, they have a thicker corpus callosum which enable a more efficient communication between both hemispheres. They have the capability and the ability to find the medium between creative and logical thinking. As composers, they can go beyond existing structures and find unusual ways of expressing sound while still consciously aware of form and all its elements. As performance artists, they are sticklers for what’s written on the score, but are able to bring a new dimension to the music by way of intuition. One could say, probably, that these musicians know the rules and choose to break them, or more precisely, venture from them.
As an educator with these observations in mind, I would probably be more careful in judging a music student’s or musician’s logical or creative abilities. Too quickly, music teachers would label a certain student “bobo” (stupid) for not being able to quickly grasp musical concepts whose understanding require logical thinking, or “parang bato” (like a stone) for purely interpreting a piece as written, with nary a touch of feeling or personal interpretation. Different brains means different capabilities. In fact, musicians born with a balanced brain could have been easily programmed to lean heavily towards only one hemisphere had they been trained to do so by a music teacher who, say, forced them to stick to reading notes and never to play by ear (oido); or by one that constantly ignored a student’s inquiry about certain musical symbols and encouraged them instead to improvise.
If teachers are always encouraged to regard their students as individuals, then it follows that how their students think is just as important as what they think. We must not rely on impressions or the usual clichés (all musicians are right-brained) and be quick to dismiss or give up. Instead, we must be creative in finding new avenues of teaching in order to rouse our students’ less utilized brain hemispheres. Observation, care, and a genuine concern for our students’ thinking process will ensure a deeper understanding and holistic response to music.