Sigma Alpha Iota

sai-national.org • Spring 2025 27 THE MYTH OF PERFECT PITCH: FALL INTO THE MYSTERY by Kenneth Eggert Thalia Press, 2024 K enneth Eggert states on the dedication page of his new book that it is for his students, and is written "in order to say all the things I don't get to say to them while teaching my classes." Eggert teaches music theory and composition at Brevard College, and it is true that most of the lessons he imparts in his book would not be expected in such a classroom setting, which is an important reason he has chosen to write his book. He explains that he was not completely happy with his musical education and felt that only the practical aspects of music making were taught, at the expense of exploring the deeper meaning of music; he hopes to remedy this gap by imparting to his readers this missing information. The Myth of Perfect Pitch is a personal account of Eggert's quest to get beyond the musical notes on a page. He aims to find their hidden significance in order to discover why music has been—and continues to be— so meaningful and powerful throughout human societies. In doing so, he also discovers ways music can help humans harmonize with the world around them and reach a deeper truth. Using anecdotes from his own life, including his involvement with Native American traditions and his musical experiences in a variety of genres, Eggert explores topics as varied as microtonality, life and death, and a connection with nature, as well as the etymology and evolution of some of the words we use. He elucidates why he feels that music is a calling and that "[t]hose who devote themselves to it are acting as servants to humanity, contributing to the greater good" (page 79). Eggert is an articulate and persuasive writer, and for those who are open to a more "mystical" approach to the creative act of music and music-making, his book will provide much food for thought and help readers expand their worldview. His argument that music is indeed part of "the basic fabric of reality itself" is certainly valuable and important to consider for anyone whose life is inextricably linked to music. Bk Reviews PLAYING THE CHANGES: JAZZ AT AN AFRICAN UNIVERSITY AND ON THE ROAD By Darius Brubeck and Catherine Brubeck University of Illinois Press, 2024 P laying the Changes is the engrossing story of how Darius Brubeck (the oldest son of jazz great Dave Brubeck) and his wife Catherine took a leap of faith. They moved to South Africa in 1983 to establish the African continent's first university jazz program at the University of KwaZulu-Natal (originally known as the University of Natal) in the city of Durban. The Brubecks choose the jazz phrase "playing the changes" for the title as an apt metaphor for their experiences in South Africa. They write: "Technically, it means improvising on an existing chord progression, and in jazz-speak, each chord is a change. Playing the changes of an existing piece transforms it into something new and more elaborate.... For a while, our South African jazz life consisted of 'playing the changes' there" (page ii). Given the political climate and race relations in that country at the time of their move, and the effort they had to expend to work around the many obstacles they encountered, the Brubecks truly had to do this—use creativity and develop a willingness to sometimes ignore the "rules" to get their jazz program going and provide support to the nascent community of jazz musicians in that part of the world. After being invited by Christopher Ballantine, the head of the university's music department, to become its first jazz lecturer, Darius Brubeck went on to found the Centre for Jazz and Popular Music there. His wife, Catherine, who was South African herself, worked to arrange and manage tours, raise funds, and organize special projects for the jazz students. Playing the Changes describes in detail the different jazz groups at the university, as well as their many performances around the world. It also provides a behind-the-scenes look at what went into making these concerts and tours happen, including finding financial support or sponsorship for these endeavors and dealing with many logistical challenges, including transportation and housing for the musicians. In addition, the Brubecks describe the quandaries they often found themselves in, when attending university was almost impossible for many of the students due to lack of food, housing, and funds. This required the Brubecks to go beyond the expected duties of their academic positions to procure the necessities their students needed to live in Durban (many of the jazz students ended up living with them!). Apartheid's effects on sustaining the jazz program are frankly and thoroughly dealt with as well. The Brubecks illustrate this more fully by providing a closer look at some individual jazz students and their stories. This book offers a look at an aspect of South African life that will be unfamiliar to most readers. Darius and Catherine Brubeck vividly illustrate how music has the power to transform and enrich lives anywhere in the world.

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