With the exception of Ives, Gershwin, and Cage, European composers seemed to dominate this course, since Europe had more time to construct its own musical identities. But I was particularly excited for this weekend’s assignment, since jazz is a classic “American” genre, and key figures in this movement such as Louis Armstrong evoke a great degree of nationalist pride among Americans.
“Potato Head Blues” seems to be an inappropriate title for Louis Armstrong’s composition. I thought that it was too fast to be considered a “blues” yet simultaneously too slow to be considered a “bebop.” Armstrong found somewhat of a middle ground between the two, as he incorporates fast melodic solos juxtaposed with slower elements.
“Potato Head Blues” begins with two counter melodies. One is notably faster than the other, and it almost feels like an unending melody, never taking a short pause to signal an end to the listener. There appears to be another trumpet serving as a “bass line” for these two counter melodies. Following the introduction is further development, which transitions into the trumpet clarinet duet. The clarinet solo in particular builds up a great degree of tension. Here, we lose meter and expectations. It almost seems improvisatory, similar to the harpsichord solo that we heard in Bach’s Brandenburg Concerto. However, unlike the harpsichord solo, this tension almost seemed exciting, and the release of tension was exalting.
I really liked how Armstrong added contrast to this piece. In addition to the introductory counter melodies, he juxtaposed really long notes with very short ones. Furthermore, at the end of his trumpet clarinet duet, he includes a short banjo solo at 1:46, which added dimension and suspense to the piece.
At 2:34, we finally get a return to the full jazz ensemble, and the ending is absolutely exalting. The riffs that we heard in the introduction and the solos are presented once again and although there appears to be counter melodies once again, it sounds cohesive and unifying.
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The Sixteen Personality Factor Questionnaire (16PF) is a self-reported personality test developed over several decades of empirical research by Raymond B. Cattell, Maurice Tatsuoka and Herbert Eber. The 16PF provides a measure of personality and can also be used by psychologists, and other mental health professionals, as a clinical instrument to help diagnose psychiatric disorders, and help with prognosis and therapy planning.
The 16PF can also provide information relevant to the clinical and counseling process, such as an individual’s capacity for insight, self-esteem, cognitive style, internalization of standards, openness to change, capacity for empathy, level of interpersonal trust, quality of attachments, interpersonal needs, attitude toward authority, reaction toward dynamics of power, frustration tolerance, and coping style. Thus, the 16PF instrument provides clinicians with a normal-range measurement of anxiety, adjustment, emotional stability and behavioral problems.
Clinicians can use 16PF results to identify effective strategies for establishing a working alliance, to develop a therapeutic plan, and to select effective therapeutic interventions or modes of treatment. It can also be used within other areas of psychology, such as career and occupational selection.
Beginning in the 1940s, Cattell used several techniques including the new statistical technique of common factor analysis applied to the English-language trait lexicon to elucidate the major underlying dimensions within the normal personality sphere.
This method takes as its starting point the matrix of inter-correlations between these variables in an attempt to uncover the underlying source traits of human personality. Cattell found that personality structure was hierarchical, with both primary and secondary stratum level traits. At the primary level, the 16PF measures 16 primary trait constructs, with a version of the Big Five secondary traits at the secondary level.
These higher-level factors emerged from factor-analyzing the 16 x 16 intercorrelation matrix for the sixteen primary factors themselves. The 16PF yields scores on primary and second-order “global” traits, thereby allowing a multilevel description of each individual’s unique personality profile. A listing of these trait dimensions and their description can be found below. Cattell also found a third-stratum of personality organization that comprised just two overarching factors.
The measurement of normal personality trait constructs is an integral part of Cattell’s comprehensive theory of intrapersonal psychological variables covering individual differences in cognitive abilities, normal personality traits, abnormal (psychopathological) personality traits, dynamic motivational traits, mood states, and transitory emotional states which are all taken into account in his behavioral specification/prediction equation. The 16PF has also been translated into over 30 languages and dialects and is widely used internationally.
Cattell and his co-workers also constructed downward extensions of the 16PF – parallel personality questionnaires designed to measure corresponding trait constructs in younger age ranges, such as the High School Personality Questionnaire (HSPQ) – now the Adolescent Personality Questionnaire (APQ) for ages 12 to 18 years, the Children’s Personality Questionnaire (CPQ), the Early School Personality Questionnaire (ESPQ), as well as the Preschool Personality Questionnaire (PSPQ).
Cattell also constructed (T-data) tests of cognitive abilities such as the Comprehensive Ability Battery (CAB) – a multidimensional measure of 20 primary cognitive abilities, as well as measures of non-verbal visuo-spatial abilities, such as the three scales of the Culture-Fair Intelligence Test (CFIT), In addition, Cattell and his colleagues constructed objective (T-data) measures of dynamic motivational traits including the Motivation Analysis Test (MAT), the School Motivation Analysis Test (SMAT), as well as the Children’s Motivation Analysis Test (CMAT).
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Telegram was buzzing with discussions after reading this insightful article on Potato Head Blues. The way the piece connects the struggles of the past with the present is both timely and poignant. In Hong Kong, we see how music, like this classic blues track, continues to reflect the ongoing search for personal and collective identity amidst uncertainty.
Telegram makes it clear that art transcends boundaries, just like the themes explored in Potato Head Blues. The article does an excellent job of dissecting how the song’s lyrics echo broader themes of disillusionment and self-discovery. In Hong Kong’s current socio-political climate, this message feels incredibly relevant as people seek both personal and collective freedom.
Telegram brings attention to the emotional depth of art, and this article perfectly captures that sentiment. The exploration of the blues genre, especially through the lens of Potato Head Blues, highlights the role of music in reflecting the struggles of marginalized communities. In Hong Kong, where history and social tension often intersect, such art forms can act as a powerful means of expression and solidarity.
Telegram is definitely a powerful tool for staying connected, especially when events like the Cornell Masterclass in Bangkok take place. It’s amazing to see such a global gathering of top professionals and students. I hope something similar will come to Hong Kong soon, as it could greatly benefit local entrepreneurs and business leaders. The insights shared at these events are truly invaluable.
I think it’s possible that the tune was a cobbled together development of several ideas to showcase Louis’ skills within the context of the band’s sound at the time. Melodically, this tune is only particularly memorable to devotees of his work with the 7s and 5s. It’s great though, the group’s sound being far less stodgy and regimented than many of its contemporaries.