DOCSLIB.ORG

Download The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download The A song of songs: A/r/tography, autoethnography, and songwriting as music education research by Daniel Lowell Bakan BA, York University, 1986 MA, University of Toronto, 1999 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Curriculum Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2014 © Daniel Bakan, 2014 ii ABSTRACT This dissertation is an a/r/tographic inquiry in which I explore how songs and stories about songwriting can serve as a means for theorizing new ways of conducting research in music education. I a/r/tographically braid music, lyrics, scholarship and research, autoethnography, and other creative analytical practices to demonstrate how songs and memories can be used as interpretive texts for understanding artistic identity and the nature of being a musician. Through a collaged and multi-modal method of inquiry, I show how music and its renderings, i.e., recordings, lyrics, videos, memories, and lived shared expressions (e.g., performance) can hold and uncover new ‘knowings’ about music making, the self, and society. Using a bricolaged métissage approach, I explore how and why the ethnographic study of autobiographical material and artistic renderings through (and about) song can broaden understandings of the lived experiences of musicians, music learners, and teachers. Supported by Pinar’s re-conceptualist theory of currere, hermeneutic epistemologies, and praxial approaches to music education, this dissertation exemplifies performative autoethnography as research through music-making. I ultimately arrive at two interwoven outcomes: 1) song may function simultaneously as the method, results, and interpretation of research; and 2) the lived experiences and ‘musicings’ of musicians may be considered as a form of artful scholarship. Digital audio and video files of six original songs are attached to this dissertation not only as data in support of the research, but also as a representation and report of findings through storied/scholarly renderings in lyric, prose, image, and music. iii PREFACE The research and artistic compositions in this dissertation are all the original work of the author. Portions of Chapters Three and Four have been previously published in a single article: Bakan, D. (2013). This is the beauty: Song as a/r/tographical exploration. UNESCO Observatory Multi-Disciplinary Journal in the Arts, 3(2). All songs, music, and videos are copyright of the author. All songs are registered with the Society of Composers, Authors and Music Publishers of Canada (SOCAN). Artistic collaborative contributions to the audio recordings and videos (e.g., videography, recording and production, musical accompaniment, supplemental singers and instrumentalists) are acknowledged within the body of the dissertation, although all lyrics, songs and video renderings are my original works. All musical arrangements are also my own work, as are the video editing and narrational elements. iv TABLE OF CONTENTS Abstract.......................................................................................................................................... ii Preface........................................................................................................................................... iii Table of Contents......................................................................................................................... iv List of Digital Media................................................................................................................... vii Acknowledgements .................................................................................................................... viii Dedication...................................................................................................................................... x CHAPTER ONE: Introduction .................................................................................................. 1 CHAPTER TWO: A review of the literature on autoethnographic method and related music education research ............................................................................................................. 6 Introduction..................................................................................................................................... 6 A few thoughts on writing .............................................................................................................. 7 Music education research and the interpretive turn ...................................................................... 12 The trouble with music education research .................................................................................. 16 Praxial challenges to “aesthetic” music education ....................................................................... 21 The crisis of representation........................................................................................................... 23 Autoethnography as a storied method of lived-inquiry ................................................................ 26 Story as meta-narrative ................................................................................................................. 33 Autoethnography and currere as methods of musicing the self and social................................... 37 CHAPTER THREE: The currere of a worldly folksinger: The social and technological context of songwriting in the 21st century................................................................................ 41 My artistic currere......................................................................................................................... 41 What is this thing called song? ..................................................................................................... 42 v What is this thing called folk? ...................................................................................................... 48 My storied musical lifeline ........................................................................................................... 57 Technology meets song: The era of affordable recording ............................................................ 61 Folk 2.0: Song goes on-line .......................................................................................................... 63 Folk ‘n worldly cosmopolitans online .......................................................................................... 66 Examples from my catalogue ....................................................................................................... 67 A song of becoming...................................................................................................................... 67 CHAPTER FOUR: This is the beauty: A methodology for song as a/r/tographical exploration................................................................................................................................... 69 Part One: A few opening chords................................................................................................... 69 Part Two: The singer grieves, the theory sings............................................................................. 71 Part Three: If I could say it I wouldn’t have to sing it.................................................................. 74 Part Four: Resonances .................................................................................................................. 77 Part Five: A few verses on theory................................................................................................. 83 Part Six: A reflective repetition and embellishment..................................................................... 86 Part Seven: Coda........................................................................................................................... 88 CHAPTER FIVE: A song of songs............................................................................................ 90 Prelude .......................................................................................................................................... 90 Verse One: “The Year of Jubilo”.................................................................................................. 96 Chorus One: “Jubilo: The complicated conversation” ................................................................. 97 Verse Two: “Mount Elphinstone: Where will the fairies dance?” ............................................. 106 Chorus Two: “The complex reverie of song-making”................................................................ 107 Verse Three: “The Song That Everyone Should Hear”.............................................................. 113 vi Chorus Three: “Song as comfort: The artist in service to the muse, the music, and the public good”........................................................................................................................................... 114 Verse Four: “Chasing the Buck” ................................................................................................ 118 Chorus Four: “The autoethnographical exploration of professional musicianship”................... 119 Verse Five: “The Fountain Pen”................................................................................................. 127 Chorus Five: “Complicated conversations of remembrance, connection, and
Load more

Recommended publications
  • Music and the American Civil War
    “LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans.
    [Show full text]
  • Fomrhi-110.Pdf
    v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009.
    [Show full text]
  • Cécile Doo-Kingué - Featured Vocalist November 28 at Massey Hall
    October 2015 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 31, No 10 Cécile Doo-Kingué - featured vocalist November 28 at Massey Hall CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 Cécile Doo-Kingué at WBR Event Listings John’s Blues Picks Top Blues Loose Blues News and More TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2015 BOARD OF DIRECTORS Derek Andrews (President), Jon Arnold (Executive), Gord Brown, Lucie Dufault (Secretary), Sharon Evans, Sarah French, Michael Malone (Treasurer), Jamie MacDonald, Ed Parsons (Executive), Norman Robinson, Paul Sanderson, Mike Smith (Executive), John Valenteyn (Executive) Musicians Advisory Council: Chris Antonik, Brian Blain, Gary Kendall, Lily Sazz, Mark Stafford, Suzie Vinnick Membership Committee: Michael Malone, Lucie Dufault, Gord Brown, Sarah French, Mike Smith, Debbie Brown, Ed Parsons, Norm Robinson Volunteer Committee: Ed Parsons, Sharon Evans, Lucie Dufault Office Manager: Alice Sellwood [email protected] Office Assistant: Ivy Farquhar-McDonnell Event Coordinator: Jordan Safer [email protected] Sponsorship Coordinator: Dougal Bichan [email protected] Webmistress: Janine Stoll Grants Officer: Barbara Isherwood Publisher/Editor-in-Chief: Derek Andrews Managing Editor: Brian Blain [email protected]
    [Show full text]
  • The Renaissance Cittern
    The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar.
    [Show full text]
  • Children's Folk Music in Canada: Histories, Performers and Canons
    Children’s Folk Music in Canada: Histories, Performers and Canons ANNA HOEFNAGELS Abstract: In this paper the author explores the origins, growth and popularity of prominent children’s performers and their repertoires in English Canada from the 1960s-1980s, arguing that this period saw the formation of a canon of children’s folk music in Canada.Various factors that have supported the creation of a children’s folk music canon are highlighted, including the role of folk song collectors, folk singers, educational institutions, media outlets and the role of parents in the perpetuation of a particular canon of folk songs for children. ike many adults, I was rather uninterested in children’s music until I be- Lcame a parent. However, since the birth of my children, my family has been listening to and watching various performers who specialize in music for children. I am not unique in my piqued interest in this repertoire after the birth of my children; indeed many parents seek to provide a musical environ- ment for their children at home, both through songs and lullabies they may sing to their children, and by listening to commercial recordings made for young children. Early music educators recognize the importance of music in the development of young children, and the particular role that parents can have on their child’s musical development; as researchers Wendy L. Sims and Dneya B. Udtaisuk assert: Early childhood music educators stress the importance of pro- viding rich musical environments for young children. The intro- duction to MENC’s National Standards states, “The years before children enter kindergarten are critical for their musical develop- ment,” and infants and toddlers “should experience music daily while receiving caring, physical contact” (Music Educators Na- Hoefnagels: Children’s Folk Music in Canada 15 tional Conference, 1994).
    [Show full text]
  • FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University Collection 18 Plans and Books'
    Elena Dal Coriivo No. 43 April 1986 FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University collection 18 Plans and books'. S.A.M.I., Paris 20 Plan! Eerens tr aver so 23 Plan! Vienna quint bass recorder The Harley Foundation, Welbeck 24 COMMUNICATIONS 688- REVIEWS! The Sound of the Fortepiano! A Discography, by A. Basardj 695 Musical Instruments Through The Ages, ed M. Hamber & L. Stanners^ Music for Oboe 1650-1800, by B. Haynes? ...Maultrommel..,2, ed. F. Crane*, A Treatise...violin playing, by L. Mozart, trans. E. Knocker (paperback reissue)! Un Musee Aujourd'hui (exhibition cat.)! The Art of Fingering the Harpsichord, by N. Pasquali (facs. of 1757 print)? Musical and Poetical Relicks of the Welsh Bards, by E. Jones (facs. of 1784 print) J. Montagu 26 726 Changes at Prague G. Lyndon-Jones 16 696 Review! Piano i Norge, by P A Kjeldsberg O. Aanstad 34 697 New Grove DoMI! JM no. 4! further detailed comments J. Montagu 35 698 New Grove DoMI! ES no. 4! Ca to Ci entries E. Segerman 39 699 Are computers anything for us? C. Karp 46 700 (Computer Comms) M. Lyndon-Jones 52 701 On computers, typewriters etc. M. Champollion 53 702 (Non-keyboard baroque temperament) B. Haynes 56 703 A matter of temperament M. Hodgson 69 704 The proportional compass R. Gug 71 705 A simple and cheap hygrometer T. Bergstrrim 87 706 Digital and other calipers B. van Leeuwen 88 707 Modification and sharpening of twist drills B. van Leeuwen 89 708 De humidifiers H.Hope 89 709 ...Chitarra battente H.Hope 90 710 Vihuela H.Hope 90 711 An experimental method N.
    [Show full text]
  • The Transcriber's Art – #56 Cute An' Catchy and Got a Happy Feelin
    The Transcriber’s Art – #56 Cute an’ Catchy and Got a Happy Feelin’ by Frank Lawes by Richard Yates I want another banjo. Sure, I own two banjos already, but the world is a sad place these days and I think extra precautions are needed. – John Kavanagh Music written for plucked string instruments has always been a logical and rewarding source of transcriptions for the classical guitar. The lute, in both its Renaissance and Baroque configurations, has given us a wealth of music that predates the guitar. A couple of issues ago, in this series, I found that harp music may be a needlessly overlooked trove from more recent times. Extending my foray into the plucked strings I stumbled across the banjo. Reams of bluegrass music from the last few decades had almost obscured a golden age of the banjo—the “classical banjo”—a century ago. The banjo has a large repertoire, most of which is highly accessible to the guitar. It has more than just nostalgic chestnuts; there is genuine compositional artistry and an immediate and compelling appeal in this music. You will smile when you begin playing the two pieces that accompany this article. History In the 17th century, West African slaves in the New World brought with them a gut- stringed instrument with a skin-covered, gourd body. Writing about slaves on his own plantation, Thomas Jefferson said, “The instrument proper to them is the Banjar, which they brought hither from Africa.” Modifications stemming from a growing acquaintance with European instruments—such as a flat fingerboard and frets—continued until the final form was reached near the beginning of the 20th century.
    [Show full text]
  • Songwriting Contests
    CANADIAN PUBLICATIONS MAIL AGREEMENT NO 40014605 (IF UNDELIVERABLE PLEASE RETURN TO 129 JOHN STREET, TORONTO, ONTARIO M5V 2E2 $4.95 CDN AND CRAFTOFCANADIANSONGWRITERS ART THE CELEBRATING PUBLISHED BY MAGAZINE S.A.C.’s BLUEBIRDNORTH GOESNATIONWIDE S.A.C.’s JOHN’S CAPEK:STORIESFROMTHETRENCHES SONGWRITERS INTHENEWS ALSO INTHISISSUE: WITH EMBERSWIFT 20 QUESTIONS NASHVILLE CATS CANADA’S “WHISPERING PINES” JASON SCHNEIDER’S A RIVETINGEXCERPTFROM FIRST BREAK JONI MITCHELL’S GETTING AHEADINMUSICCITY … S CONTESTS SONGWRITING O W y ha O FALL 2009, Volume 12Number3 2009,Volume FALL u’ T RE now a WINNER ? EXECUTIVE Director’S MESSAGE EDITOR Greg Quill MANAGING EDITOR Don Quarles DESIGN Ambrose Pottie CONTRIBUTORS Don Quarles, Nick Krewen, Christopher Ward, Dale Leung, Greg Quill MAGAZINE EXECUTIVE DIRECTOR All photos courtesy of S.A.C., unless otherwise stated. DON QUARLES WITH INTERNATIONAL Canadian Publications Mail Agreement No. 40014605 CONFEDERATION Canada Post Account No. 02600951 OF AUTHORS ISSN 1481-3661 ©2002 FALL 2009 Volume 12 Number 3 .C. AND COMPOSERS Songwriters Association of Canada A SOCIETIES (CISAC) Subscriptions: Canada $16/year plus GST PRESIDENT ROBIN USA/Foreign $22 CONTENTS FEATURES: GIBB AT THE WORKS COPYRIGHT SUMMIT Songwriters Magazine is a publication of the IN WASHINGTON IN Songwriters Association of Canada (S.A.C.)and is 5 20 QUESTIONS : COURTESY S. : COURTESY JUNE. published three times a year. Members of S.A.C. receive Songwriters Magazine as part of their membership. Ember Swift reveals secrets of song craft HOTO P Songwriters Magazine welcomes editorial comment. Opinions expressed in Songwriters Magazine do not Exciting changes are taking place at the year. The annual week-long workshop was necessarily represent the opinions of the S.A.C.
    [Show full text]
  • Mitch Podolak, Revolution, and the Winnipeg Folk Festival Michael B
    Document generated on 09/25/2021 12:11 p.m. Ethnologies “The Best Laid Plans of Marx and Men” Mitch Podolak, Revolution, and the Winnipeg Folk Festival Michael B. MacDonald Hommage à Peter Narváez Article abstract In Honour of Peter Narváez Mitch Podolak said, “Pete Seeger and Leon Trotsky lead to everything in my Volume 30, Number 2, 2008 life, especially the Winnipeg Folk Festival.” This article discusses the creation of the Winnipeg Folk Festival (WFF) in 1974 as Podolak’s first attempt to fuse URI: https://id.erudit.org/iderudit/019946ar his ten years of Trotskyist political training with his love for folk music. His DOI: https://doi.org/10.7202/019946ar intention was to create a Canadian folk festival which would embody the politically resistant nature of the Trotskyist international movement for the purpose of challenging the Canadian liberal capitalist democratic system on a See table of contents cultural front. Heavily influenced by the American Communist Party’s use of folk music, Podolak believed that the folk song and its performance were socially important. This importance, he believed, stemmed from the social Publisher(s) cohesion that could be created within a festival performance space. This space, when thoughtfully organized, could have the ability to create meaning. The Association Canadienne d'Ethnologie et de Folklore relationships between the artistic director, the folk singer, the folk song and the festival audience become intertwined to dialectically create the meaning of ISSN the song and the space simultaneously defining folk music 1481-5974 (print) 1708-0401 (digital) Explore this journal Cite this article MacDonald, M.
    [Show full text]
  • LINER NOTES Recorded Anthology of American Music, Inc
    New World Records 80202 Songs of the Civil War By Charles Hamm The Civil War of 1861-65 was the single most dramatic event in the history of the United States, with the possible exception of World War II. The fighting, the carnage, the brutal effects on soldier and civilian were unmatched by any other war in American history. In his preface to Flawed Victory; a New Perspective on the Civil War, James P. Shenton writes: No event in American history had more devastating results than the Civil War. For four years the nation was wracked by a seemingly endless blood letting. When the guns finally fell silent in the spring of 1865, more than 630,000 Americans had died. Americans had inflicted upon one another more casualties than had ever been sustained in a previous, or subsequent, foreign war. (In comparison, some 606,000 Americans were killed in all other conflicts from the French and Indian Wars through Korea.) In the course of the struggle, a war of limited objectives had been translated into total war. The enemy was no longer armies but entire civilian populations....When final defeat engulfed the South, its economy was in shambles; vast stretches of its territory were ruined; and its social institutions rooted in slavery had been smashed....As one contemporary noted, the boundary between the two sections was drawn in blood. Such Northern states as Illinois and Connecticut sent almost fifteen percent of their population to fight the Civil War, and the percentage was even higher in most of the South. It was total war indeed, particularly for less populated areas.
    [Show full text]
  • Music in the Civil War Context
    Lesson #2 – Art Criticism/Critical Thinking: Music in the Civil War Context: Intermediate (Grade 4), 1 hour lesson, whole group (18 students) Virginia Standards of Learning: VS.7 - The student will demonstrate knowledge of the issues that divided our nation and led to the Civil War by a) identifying the events and differences between northern and southern states that divided Virginians and led to secession, war, and the creation of West Virginia; Music 4.4 The student will respond to music with movement. 1) Perform choreographed and non-choreographed movements. Music 4.7 The student will create music through a variety of experiences. 1. Improvise simple melodic and rhythmic accompaniments. Objectives: 1) Given different musical selections from the Civil War era, students will describe the instruments they hear as well as the implied emotions the songs express. 2) Given an assigned emotion and a set of “instruments”, students will create a beat that exhibits the emotion and play them for their classmates. Resources/Materials: Music selections, instruments made from household materials (kitchen items, books, pens, etc), tubs from baskin robbins, knowledge retrieval chart with associated handouts (one per student), summative assessment handout Music selections retrieved from http://pdmusic.org/civilwar.html and include: Battle Hymn of the Republic, Dixie’s Land, The Dying Volunteer, Can I Go Dearest Mother?, and Kingdom Coming Content and Instructional Strategies: Introduction: Explain that the Civil War was an important event in our nation’s history. The country was divided into two sides: the North and South, which were fighting each other. Explain that the people were feeling a range emotions and had many different attitudes.
    [Show full text]
  • Ukelele Sizes, Strings, and Tunings One Size Doesn’T Fit All Most Ukes Fall Into One of Four Sizes
    Ukelele Sizes, Strings, and Tunings One size doesn’t fit all Most ukes fall into one of four sizes. Each size has a different scale length and string tension requirements. (The scale length is the distance from the nut to the bridge.) It’s therefore important to choose a set intended for your type of ukulele. Here are the four most common ukulele sizes with their typical scale lengths, overall lengths, and most common tunings: Scale Overall Ukulele Type Tuning length length Soprano (or 13” 21” G4-C4-E4-A4 or A4-D4-F#4-B4 Standard) Concert 15” 23” G4-C4-E4-A4, A4-D4-F#4-B4, or G3-C4-E4-A4 G3-C4-E4-A4, G4-C4-E4-A4, A4-D4-F#4-B4, or Tenor 17” 26” D4-G3-B3-E4 Baritone 19” 30” D3-G3-B3-E4 Reentrant vs. Linear Tuning As you can see from the chart above, there’s more than one way to tune most ukuleles. In the most common method called reentrant tuning (also sometimes called high 4th or C tuning), the G string is tuned to the G above the C and E strings. You’ll see this also referred to as “high G” tuning. Because the strings cover a smaller range, reentrant tuning offers more even overall tone. Standard reentrant tuning shown on a ukulele, the music staff, and piano keys. With linear tuning (also called low 4th tuning), the G string is tuned down an octave creating a broader tonal range that some players prefer. Dissonant-sounding chords tend to ring more clearly with linear tuning.
    [Show full text]