With August here, I'm avoiding writing my book on learning to write another dubiously researched text on my other love: food. But first: NewsletterThis newsletter is taking on some new to me directions. I’m going to send slightly more frequent ideas about details and learning, and more infrequent deeper dives into interdisciplinary connections with an emphasis on music-making. If you want to adjust your Mike level, you can click "Update Preferences" at the bottom of this email and adjust accordingly. One joy and gift of traveling is living somewhere, to learn about cultural norms and priorities by spending a bit more extended time in a destination. This leads to a lot of grocery stores, walking around (as fast as possible), museums, and failing at quotidian tasks—I’ll never forget my first experience with a German washing machine. I’ve found that this predilection enhances my ability to articulate ideas of style in music I’m studying, while also honing my ability to notice, parse, and organize the details in music by practicing in the world. After weeks of stimulation and overstimulation (Toledo Cathedral and Sagrada Familia being the main offenders), I’m back from such a trip to Spain and Italy. It’s not desirable to work against norms, particularly with regard to food, and Spaniards certainly have predilections vis a vis meal timing, construction and judgement. I love eating in Spain, riding the ebullient waves of energy before, during and after meals. However, one detail has always tickled my mind with regard to Spaniards’, and by extension my, criteria for evaluating their cuisine. It’s sheen-based.In fact, I would argue the shinier the better. Based on research conducted from age 2 to the present, here are observations on some Spanish culinary mainstays, organized by level of shininess/deliciousness, drawing upon observations and discussions by natives and courteous foreigners. Top Tier: Sunglasses required. The tastiest.
Mid-Range (transitional, wildcards, B-League)
Foods Which Make Their Surroundings Shiny:
Dull, Dry
Details are indicators of priorities, intentions, and connections. So, what do these details tell us, other than confirming that there are a LOT of olive trees in Spain? While I’m interested in tracing this thread historically (culinary history is fascinating!) I’m more interested in what I can learn about music through this journey, as it clearly activated the same part of my brain which goes crazy for analysis. The act of observing and organizing details is critical to our role as interpreters, especially interpreters of such enigmatic and cryptic historical artifacts as musical scores. Building muscle around noticing assumptions via details and connecting those assumptions to larger ideas of style is critical to this endeavor, and is effectively practiced outside of musical domains. For example, let’s say our musical text was the menu of a restaurant. Filtering by shiny might help explain the menu’s organization and give ideas about what an astute diner might order. The knowledge when and how people eat is not as such encoded in most musical texts, and we as performers have to recreate and reimagine those details from other sources and through extrapolation from available information. And it all starts with one detail. It goes without saying that one shouldn’t draw conclusions about an entire culture from one person’s consciously limited experiences in Shine City. But, maybe learning about a localized culture, the unspoken connections that make one place at one time that place and that time can help us build those connections while engaging learning the music of the past. Wow, I guess I did work on my book! Other Details
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Thoughts on history, culture, music, the details of our world, and how learning matters. Written by a musician and professor, Learn with Mike provides insight and resources for those looking to maximize their creative potential through developing the skill of learning. Also posts from On Learning Percussion, my more practical posts about musical learning that I hope are helpful for curious learners.
LEARN WITH MIKE From Michael Compitello 06/23/2025 I was perusing Hervé This’s Molecular Gastronomy, and confronted by yet another similarity between cooking and music: the annoyance of some technique working but not knowing why. This leads over time to rigid adherence to dogma. We end up with a metal spoon in a bottle of champagne to keep the bubbles going, refusing anything but a steep copper pot to cook polenta, and never deviating from the same musical warmup. What if we devoted some time...
LEARN WITH MIKE From Michael Compitello 05/10/2025 It’s May. With commencement approaching here at Arizona State, I’m embodying a reflective mode. I’m recently returned from the premiere of Eliza Brown’s The Listening Year at Big Walnut Creek, an evening-length work blending field recordings composer Eliza Brown made over a year of visits to Big Walnut Creek with judicious cello and percussion parts. Eliza calls the project “ The Listening Year at Big Walnut Creek is a sound art project that...
LEARN WITH MIKE Thoughts on history, culture, music, the details of our world, and why learning matters. From Michael Compitello 04/23/2025 Below is a post I shared in my Learning Percussion newsletter. If you're interested in more than nerdy percussion tech-talk, I hope you take a look. It’s been a remarkable semester here at ASU and with my little studio of curious learners across the country. I’m excited to reflect on those experiences in the coming weeks. But first, the NanoSIMS. I...