We recently established a successful Useful Concepts Repository. It got me thinking about all the useless or actively harmful concepts I had carried around for in some cases most of my life before seeing them for what they were. Then it occurred to me that I probably still have some poisonous concepts lurking in my mind, and I thought creating this thread might be one way to discover what they are.
I'll start us off with one simple example: The Bohr model of the atom as it is taught in school is a dangerous thing to keep in your head for too long. I graduated from high school believing that it was basically a correct physical representation of atoms. (And I went to a *good* high school.) Some may say that the Bohr model serves a useful role as a lie-to-children to bridge understanding to the true physics, but if so, why do so many adults still think atoms look like concentric circular orbits of electrons around a nucleus?
There's one hallmark of truly bad concepts: they actively work against correct induction. Thinking in terms of the Bohr model actively prevents you from understanding molecular bonding and, really, everything about how an atom can serve as a functional piece of a real thing like a protein or a diamond.
Bad concepts don't have to be scientific. Religion is held to be a pretty harmful concept around here. There are certain political theories which might qualify, except I expect that one man's harmful political concept is another man's core value system, so as usual we should probably stay away from politics. But I welcome input as fuzzy as common folk advice you receive that turned out to be really costly.
Yes. My claim is not repertory-specific. (Note that this is my claim I'm talking about, not Westergaard's.)
More generally, I claim that the Westergaardian framework (or some future theory descended from it) is the appropriate one for understanding any music that is to be understood in terms of the traditional Western pitch space (i.e. the one represented by a standardly-tuned piano keyboard), as well as any music whose pitch space can be regarded as an extension, restriction, or modification of the latter.
How many of them are familiar with Westergaardian (or even Schenkerian) theory?
I've encountered this attitude among art-music performers as well. My sense is that such people are usually confusing the map and the territory (i.e. confusing music theory and music), à la Phil Goetz above. They fail to understand that the concepts of harmonic theory are not identical to the musical phenomena they purport to describe, but instead are merely one candidate theory of those phenomena.
Some of them do -- probably more or less exactly the subset who have enough tacit knowledge not to need to take their theoretical instruction seriously, and the temperament not to want to.
I'm delighted to hear that, of course, although I should reiterate that I don't expect ITT to be the final word on Westergaardian theory.
This was my hypothesis as well (which is what the jazz musician responded with hostility to). If this is true though, then why are jazz musicians so passionate about harmony and voice leading? They seem to really believe that its a useful paradigm for understanding music. Perhaps this is just belief in belief?