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(Chapter 18 of Keywheel Theory System, re-edited version)
MEMORIZATION
VS. UNDERSTANDING
There are
two different methods of learning--by memorization and by understanding . The first belongs primarily to the perceptual level of a human
consciousness, the second to the conceptual .
Memorization
is achieved by means of repetition and concrete-bound association (non-relating
to anything else). It is process in which one sensory concrete leads
automatically to another with no regard to context or relationship to
other knowledge. (For example, songs can be learned by reading music
or by "ear" through repetition with no regard to names of
the notes, key, or organization of time.)
Understanding,
or conceptualizing is achieved by fully conscious, focused attention
and observation. Mental connections are thus established which make
that knowledge automatic, or instantly available as a context. This
frees the mind to pursue further, more complex knowledge. (For example,
songs are learned in context to a scale, a key, and time organization.
Once understood they can then be arranged and transposed to other keys.)
PERCEPTS
Percepts
(sensory evidence) are groups of sensations automatically retained and
integrated by the brain. To most listeners music is perceived as percepts,
much the same way an infant sees non-categorized colors, sounds, and
shapes.
CONCEPTS
Concepts
are mental integrations of two or more units which are isolated by a
process of perception and united by a specific definition. For example,
a person notes the similarities between two chairs. (Each has four legs,
a back, and are constructed for a person to sit in.) Their similarities
unite them into a concept chair. A concept is "open-ended"
and includes all specifically defined units. For example, the concept note includes all notes, the concept song includes all
songs, etc.
A concept
has no specific measurements. Because of this characteristic concepts
are a condensation of knowledge. Individual chairs have specific
measurements, the concept chair (which applies to all chairs)
does not. Individual notes have specific measurements (cycles per second),
the concept note (which applies to all notes) does not. Individual
songs have specific measurements (melody, progression, key, etc.), the
concept song does not.
Concepts
are retained by means of language . Without the proper vocabulary
one cannot adequately explore a new subject and retain the information.
By organizing perceptual material (such as music) into concepts, and
concepts into wider and still wider concepts, one is able to grasp and
retain, to identify and integrate an unlimited amount of knowledge,
extending beyond the immediate concretes of any given moment.
INTEGRATION
To understand means to focus on the content of a given subject (as against the sensory--visual
or auditory--form in which it is communicated), to isolate its essentials,
to establish its relationship to the previously known (context), and
to integrate it with the appropriate categories of other subjects.
Integration
is the essential part of understanding. Integration involves analysis
and synthesis. Analysis is the separation of a whole into parts
while synthesis is the putting together of parts to create a
whole. Here is an analogy: A mechanic takes an engine apart and puts
it back together. His method involves a step-by-step procedure in both
directions. The more engines he takes apart and puts back together the
more efficient and clear he becomes at doing so. (After a time he is
able to mentally recreate the steps from any point in the procedure.)
The more songs a musician takes apart and puts back together the more
efficient and clear the process becomes. (One can then physically or
mentally recreate from any point in a song.)
The process
of forming, integrating, and using concepts is not automatic. It is
a voluntary process which uses both new and memorized material,
and is directed by the will . Conceptualization is the most crucial
part of learning and is an acquired skill--it has to be learned. All
of a person's other capacities depend on how well he learns this skill.
The skill
of learning does not pertain to the particular content of a person's
knowledge at any given age, but to the method by which he acquires
and organizes knowledge--the method by which his mind deals with its
content. The method of a person's thinking is more critical than hereditary
intelligence. Someone who is integrated (without contradictions) can
out-think and out-perform a more "intelligent" person who
has contradictions due to non-conceptual thinking. (Contradictions are
a "short-circuit" to integrated thinking.)
Like mathematics
(the best example of integration) this theory course follows conceptual
rules of hierarchy and integration--it is a lesson in methodical thinking.
The following is the hierarchical integration of this course. Each successive
concept contains the previous concept.
One cannot
understand an octave until one understands a half step. One cannot understand
a major scale until one understands an octave . . . One cannot understand
the totality of the circle of fifths until one understands all concepts
leading up to it.
CONCEPTUALIZING AND INTEGRATION ENHANCE MEMORY
Developing
a keen musical memory relies upon thinking in conceptual terms. Since
concepts are "space-saver organizers" information can be stored
by categorization. This can be illustrated by the application of concepts
(via language) to songs. The following simple songs may be categorized
by scale , melody , time , and progression . They are united by similarities but are separated by differences . (In this case only the melody is different.)
Categorizations,
sub-categorizations, and cross-categorizations apply in more complicated
songs--for example, all sixteen measure progressions, sixteen measure
progressions in 4/4 time, aeolian 16-measure progressions in 4/4 time,
mixolydian 16-measure progressions in 3/4 time, etc. Melodies (the most
distinct differences) can then be isolated and learned in context to
a scale.
Playing
popular music in a group requires more memory-integration functions
than any endeavor I know of. While a listener perceives music
as percepts, a creative musician must know the anatomy of keys,
timing, melodies, improvisation, and must memorize progressions and
arrangements (and sometimes lyrics to boot!).
LEARNING VOCABULARY
One can
even think conceptually about conceptualizing! The following list contains
over sixty key words that relate to learning. These nouns, verbs, and
adjectives can have a positive effect upon your thinking, learning,
and playing. Choose a few words per week and add them to your vocabulary.
(New words mean new thoughts and new thoughts mean new action!)
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