National Blog Posting Month

OK, so I’ve just signed up for a thing called National Blog Posting Month, also known by the “elegant” name NaBloPoMo. This was probably a rash thing to do. The idea is that every day, for an entire month, I have to post something to my blog.

From past experience of writing a journal, this is unlikely to happen. Some days simply aren’t interesting. But it will be interesting to try, and to see whether I fail abysmally or only moderately . . .

The name is rather inaccurate. First, it’s not a specific month. It’s one month from the day I signed up. And second, it’s international. So it should really be called Ongoing international blog posting  exercise, or  Oninblopex.

I’ve a bit of a cold today and just thinking about doing this makes my temperature rise, so I’m definitely not predicting great  success. But let’s see.

Hmmm . . . Maybe I should go and un-sign-up . . .

Some John Cage anecdotes

The avant-garde composer John Cage is, of course, best known for his “silent piece”, 4’33”. This involves collecting together some musicians and an audience, and requiring them to sit in “silence”, hearing nothing but ambient sounds, for four time periods (“movements”) totalling four minutes and thirty-three seconds.

A performance at the Barbican, part of which I saw on TV, made it clear that this is more than just some kind of stunt. The audience was large; one does not usually have the experience of being with such a  large number of people in such focused silence for so long. The silence was intense, even experienced second hand through the broadcast. And it’s more than twice as long, for example, as the two minute silence we observe on Remembrance Day.

I’m not concerned about whether 4’33” is music or not: the important thing is the experience, not what label we give it. Maybe really it’s theatre. Maybe it’s something else.

It seems everyone has heard of  4’33’.

But maybe less people are aware of John Cage’s writings. Like his music, they too are idiosyncratic. They include a Lecture on Nothing which is really a kind of meditation leading into periods of extended silence. The one I want to give a sample of here, though, is called Indeterminacy. In it, he took up a friend’s suggestion of giving a lecture consisting entirely of stories. He gave the lecture at least twice: a 30 minute version and (with different stories) a 60 minute version.

The catch was that in delivery, each story had to last exactly one minute. But they were of quite wiidely varying lengths, so he had to speak very slowly in telling some of them, and very quickly for others.

But—and here’s the point—many of the stories are very entertaining and well told. And having written ninety anecdotes for the two versions of the lecture, John Cage didn’t stop there. He continued writing them as he thought of them. In his collection of writings Silence, stories that aren’t included in the printed version of the lecture are as he says “scattered through the book, playing the same function that odd bits of information play at the end of columns in a small-town newspaper”, so every so often you’ll find an anecdote instead of blank section of a page.

Here are several of my favourites. The first concerns Xenia, who was his wife for about ten years:

Xenia never wanted a party to end. Once, in Seattle, when the party we were at was folding, she invited those who were still awake, some of whom we’d only met that evening, to come over to our house. Thus it was that about 3:00 A.M. an Irish tenor was singing loudly in our living room. Morris Graves, who had a suite down the hall, entered ours without knocking, wearing an old-fashioned nightshirt and carrying an elaborately made wooden birdcage, the bottom of which had been removed. Making straight for the tenor, Graves placed the birdcage over his head, said nothing, and left the room. The effect was that of snuffing out a candle. Shortly, Xenia and I were alone.

An unintended consequence of his interest in wild fungi:

When Vera Williams first noticed that I was interested in wild mushrooms, she told her children not to touch any of them because they were all deadly poisonous. A few days later she bought a steak at Martino’s and decided to serve it smothered with mushrooms. When she started to cook the mushrooms, the children all stopped whatever they were doing and watched her attentively. When she served dinner, they all burst into tears.

Hearing a lecture without absorbing it:

I went to hear Krishnamurti speak. He was lecturing on how to hear a lecture. He said, “You must pay full attention to what is being said and you can’t do that if you take notes.” The lady on my right was taking notes. The man on her right nudged her and said, “Don’t you hear what he’s saying? You’re not supposed to take notes.” She then read what she had written and said, “That’s right. I have it written down right here in my notes.”

These can be found on pages 271, 95 and 269 respectively of John Cage, Silence, Marion Boyars, 1978 (reprinted several times since).

Addendum

In this clip you can hear part of Indeterminacy, as delivered by John Cage. Many thanks to Nanette Nielsen for the link. (Note that this features a different set of anecdotes from the ones above—and they’re every bit as worth hearing.)

A grammar puzzle

English grammar can be strange. Sometimes it seems to have a rule of breaking its own rules, as it were. An example that occurred to me yesterday involves the words less and fewer. I’ll tell you about it shortly, but I need some background first.

A rule

First consider the basic rule about these words:

  • fewer refers to things you can count
  • less refers to things you can’t count: continuous quantities.

So, for example, if you drop one of your plates on the floor while washing up and it shatters, you have fewer plates than you did before. But if you eat a larger piece of cake than planned, there is less cake left than there would have been otherwise.

Some exceptions which aren’t

This seems like a clear enough rule, and it’s one which we mostly adhere to in written English. Fowler [1], though, mentions a few apparent exceptions, such as

  • It is less than seventy miles to London
  • [It] costs less than fifty pounds
  • We have had reliable temperature records for less than 150 years
  • [Please write] fifty words or less.

On closer inspection, the first three of these turn out to fit the rule.Try using fewer in those examples: It is fewer than seventy miles to London sounds (at least to me) as though the distance to London has to be a whole number of miles. But it isn’t: distance is a continuous quantity, which just happens to be measured in miles. We aren’t counting the number of miles, but measuring the distance.

Similarly the time since temperature records began is unlikely to be a whole number of years, and we’re measuring the time, not counting individual years; less than 150 years really means “A time whose length is shorter than 150 years”.

The money example seems slightly different, since money does come in distinct steps. However, the steps are pence, not pounds. Normally you won’t get the correct price of something by counting out a number of pounds, and (at least to my ears) fewer than fifty pounds sounds like doing precisely that. We generally think of money as a thing which we have a lot or a little of, not as a pile of coins which we have many or few of. So it still fits the rule.

Fifty words or less is interesting because, as Fowler points out, it is standard wording for English exams. A whole number of words is definitely what’s wanted. But the emphasis is still really on the length of the passage to be written, not on the individual words.

As a borderline case, Fowler  gives having had in his house at one time no less than five Nobel Prize winners. I’m less happy about that one: I think that in written English it should definitely be no fewer than five of them. Nobel Prize winners seem to me to be something that you definitely have a whole number of, not something that you measure out. On the other hand, maybe when you have a crowd of Nobel Prize winners your attention is on the size of the crowd rather than on the individuals. But I somehow doubt it. Nevertheless, these examples do in fact fit the rule: fewer for things you count, and less for things you don’t. I’m merely a little dubious about the idea of not counting Nobel Prize winners.

Speaking colloquially

I’ve not studied the speech aspect of this, but it’s clear that many (maybe most) people often don’t adhere to this rule when speaking. They say things like I’ve got far less things to do today and might treat less things to doless work to do and less to do as equivalents which are all variants on the idea of doing less.

Are they speaking “incorrectly”, or are they using a different set of rules of “correctness” for speech? I’m not sure: to me this one does feel more like not noticing a word that doesn’t fit properly, thereby getting it wrong,  than like using a different rule  to determine what fits. But at the same time, carefully using fewer can feel artificial at times, creating too much formality, especially in situations where it’s harder to say or when speaking to someone who doesn’t use it. Far fewer feels more awkward to the mouth than far less, for example, and I think there probably is a “rule” in speech  of using phrases which have a smoother sound to them. Maybe sounding nice sometimes takes precedence over “correctness”. But whether it actually sounds nice to the listener will of course depend on how alert they are to the grammatical structures, how bothered they are by it, and whether it affects clarity of meaning.

The puzzle

OK, that was rather a lot of background. Here is the puzzle, though it may be that I just hear things a particular way which other people don’t share. I’d like to hear other people’s opinions on it. It concerns the situation where, say, someone has some things to  do and then does one of them. The situation afterwards can be expressed in a variety of ways. Some feel more natural than others; some seem more grammatically logical than others. This is how it looks to me, though it may be different for someone else:

Acceptable
  • I now have fewer things to do.
  • I now have one less thing to do.
  • I now have one thing less to do.

These all feel to me like natural ways of saying it.

Less acceptable
  • I now have less things to do.
  • I now have one thing fewer to do.

Less things to do feels natural as a spoken expression, but either wrong or borderline as a written one. One thing fewer is verging on awkward: not exactly wrong, but not a very natural expression either.

Unacceptable (to my ears)
  • I now have one fewer thing to do. (No no no! One less!)
  • I now have one fewer things to do. (“One things?!”)

And there’s the puzzle.

  • How many things do you have to do? Fewer. You have  fewer things to do.
  • How many fewer? One. You have one fewer things to do.

And yet, far from being the correct expression, one fewer things to do is the most unambiguously wrong one of the lot.

On the other hand, if two tasks are done instead of one,  fewer becomes OK again: I have two fewer things to do.

At first sight, this is all very puzzling. The questions are ones like these:

  • Why can I have fewer things to do but not one fewer things to do?
  • Why can I have  one less thing to do but not one fewer thing to do?
  • Given that the things to do are ticked off my list one by one, why does less rather than fewer end up being the apparently correct word?

Attempt at an answer

The problem with the two versions I listed as “unacceptable” seems to be  that however much we may want them to be logical, they refuse to read that way.  One fewer things to do insists on reading as though fewer qualifies one things, so singular and plural are mismatched. One fewer thing to do tries to make fewer thing into a valid element. But we know that fewer applies to more than one of something. What’s rather strange, though, is that one less thing to do doesn’t seem to suffer from the same problem, even though less thing isn’t really any more valid an element than fewer thing. Maybe it’s chosen simply because it doesn’t leap out quite so blatantly.

(By the way, I really wish I had a quick way to draw some sentence diagrams here.)

From my list, I think the three “least incorrect” versions are

  • I now have one less thing to do.
  • I now have one thing less to do.
  • I now have one thing fewer to do.

In all cases, there is one thing which has already been done. This leaves less/fewer [things] to  do. But if we test the structure by removing fewer or less from the sentences, we see that they are all versions of I now have one thing to do, which isn’t the situation. The one thing is precisely the one which doesn’t need doing.

So the grammar is confusing because it tries to have its cake and eat it. Structurally, less to do and fewer to do are firmly attached to the one thing. But in their actual meaning, they refer to something entirely different: all the other things to do, which are nowhere to be seen in any of the three sentences. They’re trying to refer to two conflicting things at once.

Finally, if we instead remove the one thing from the three sentences to see what structure is left, we end up with

  • I now have less to do
  • I now have fewer [things] to do.

If the most natural phrase were I now have one thing less to do, this would give us our answer: it means “I now have less to do, by one thing”. Interpreted this way, the sentence is grammatically correct and self-contained. However, I think the most natural one is one less thing, not one thing less, so either some illogicality remains, or something unidentified is still going on.

I would welcome any thoughts on this! In particular, on whether my feeling as to the relative acceptability of the different constructions coincides with yours. There may be regional or international differences, or you might simply have gravitated towards a different usage from mine.

Note

[1] R W Burchfield (ed.). The New Fowler’s Modern English Usage, Oxford University Press, 1996, p. 295. Back

Unconscious musical memory

There’s a weekly programme on BBC Radio 3 called Discovering Music. It involves a studio, an orchestra, an audience, a presenter, and a piece of music. The presenter talks in depth about the piece and how it works, illustrated with extracts played by the orchestra. Finally, after the talk is finished, there is a full performance of the piece discussed.

Today, the programme startled me with a phenomenon which seems to happen quite regularly, so I thought I’d blog about it. It’s about time I wrote something about music.

I spent the afternoon upstairs, NOT listening to any music but preferring silence and space. When it came to teatime, I went downstairs, where the radio was on, playing what I thought was some quite unfamiliar music. I didn’t pay any attention to the music, since I still wanted quiet. By the time I got to the radio, ready to turn it off, the music had changed to speech. I wasn’t listening to that either, but a “tune”—well, a snatch of Violin 2 orchestral part of something—was going through my head. Some symphony I’d played in years ago. Maybe ten years, maybe more.

Then I heard the word “Prokofiev”, and thought “Oh! Well I think this tune in my head IS Prokofiev! I wonder . . . ” and started listening to the radio instead of turning it off. After about half a minute, the radio presenter stopped talking so the orchestra could play their next extract. What they then played was almost exactly what had been in my head: the same tune, but from a different part of the movement. What was in my head was in fact part of Prokofiev’s 5th symphony, and it they happened to be discussing it on Discovering Music.

The point is that I didn’t think I knew what the tune in my head was, if you’d said “Sing a bit of Prokofiev 5!” I wouldn’t have had a chance, and if you’d said “Sing another part of the music that’s just been playing!” I wouldn’t have been able to do that either—but nevertheless, the right tune presented itself.

The next extract they played was from the last movement. That hadn’t been in my head, but my instant reaction to it was “Oh, good grief, I remember how fiendishly difficult that was!”, together with a vague feeling that I needed to go and practise that passage some more.

A few other fragmented memories of the piece surfaced: handwritten music on large, rather yellow paper; inaccurately-spaced leger lines, so that notes which at first sight appeared to go up or down actually went down or up; and a bizarre situation at one point where a correctly written pair of notes actually moved in the opposite direction to the way they looked. There were a few bars’ rest between them, and I can’t remember the precise notes, but it was similar to this: play a B sharp, then after the rest, start again on a C flat, which looks higher but is actually a semitone lower. Or it might have been a B-double-flat going up to an A sharp. Something along those lines.

I find this happens quite a lot: maybe I’m talking to someone, a composer’s name or a piece of music is mentioned, and shortly afterwards I realise that music by that composer, or an extract from the piece mentioned, is going through my head. Often if you asked me to consciously remember how the piece goes, or to think of a tune by that composer, I wouldn’t be able to. Or if you asked me what a particular piece of music was, I wouldn’t know. But it seems there is a part of my brain which does know, and gently presents it to me almost without my noticing.

A related phenomenon happens when I’ve been rehearsing a particular piece at orchestra, then find that what’s going through my head isn’t what I was rehearsing, but tunes from another work by the same composer.

I’m quite tired at the moment and don’t have the energy to start getting all analytical about this, or even all editorial about it, so I’ll just present it to you as it is. I’d be really interested, though, to hear whether other people have similar experiences of “uncoonsiously remembering” things which you thought you didn’t know, or unexpectedly remembering little details about a piece of music. So if you’ve read this far, feel free to comment! 😉

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