There’s a meme going around about artifical intelligence (AI) software actually being plagiarism software, but that’s not really what’s going on.
I’ve used ChatGPT to see what it would do. For topics where there’s a lot of info out there, it’s maybe 80% on point, but genericizes the info, has no particular (or at least no strong) “thesis,” shows no evidence of research, provides no references (and can’t if you ask it to), and is poorly written. So, all of that is similar to a high school or early undergrad essay that would probably get a C or D.
If it directly took sentences from somewhere without citing them, that would be plagiarism/fail/F, but I don’t find that’s usually what it does. It’s more insidious than that.
On more obscure topics (even when the facts are out there in at least a few places), it makes up almost everything and is only maybe 20% accurate, in addition to many of the above problems. That’s not plagiarism, but it’s a definite fail/F.
The program is actually really good at coming up with poems and lyrics in the style of certain writers, but that is also not plagiarism.
I’m a bit late acknowledging Burt Bacharach’s passing last week. However, one of my earliest memories, along with watching the Apollo 11 moon landing on TV, was hearing B. J. Thomas’s recording of Bacharach and Hal David’s “Raindrops Keep Fallin’ on My Head” on the radio. I did eventually see the movie for which it was written: Butch Cassidy and the Sundance Kid. Unfortunately, I somehow eventually became a musicologist. Happiness did not step up to greet me.
I find it amazing that academia abandons tens of thousands of people every year and that some fields have almost no contexts for other types of career paths. I wish I had pursued an alternative career path as much as twenty years ago. In addition, if I had never pursued graduate school at all, I could have started working as a Customer Service Representative for the Liquor Control Board of Ontario, an Order Support Agent for a call centre, or a Rural & Suburban Mail Carrier for Canada Post in my twenties and been approaching early retirement by now. I also wish I had continued composing music to a much greater extent after my twenties. I’m 56, have a Ph.D., and have accomplished a great deal, but I have never had any kind of continuing full-time job that pays a living wage.
Alternative-academic and non-academic career paths—and ways to collaborate both with other scholars and with those outside academia—should be discussed and enabled. Those considerations should begin during the time-frame when doctoral candidates have traditionally worked on remarkably narrow concerns in their doctoral seminars, research and teaching assistantships, exams, and dissertations. Fewer people should complete doctorates and attempt to become professors. Post-secondary education usefully establishes and consolidates one’s interests, as well as the ability for critical thinking. However, pursuing it beyond a bachelor’s or master’s degree is unnecessary. I wish I had realized that a long time ago.
Here’s a link to my online conference paper bio, abstract, and video for “Rush’s ‘Hemispheres’: Uniting Heard and Mind (and Progressive Rock with Heavy Metal)”. May 2021 Progect Conference, hosted by the University of Ottawa.
If progressive rock and heavy metal sometimes appropriate ideas from classical music—instead of, say, the blues—would that be enough to explain their appeal? Of course not. If they’re often musically and lyrically “complex,” are these complexities straightforwardly more so than the underlying grooves and vocal practices of funk and hip hop? Well … no. On the other hand, even though they may not reach a particularly diverse audience, progressive rock and heavy metal actually espoused eclecticism right from the start.
The Canadian rock band Rush (1968-2018)—one of the godfathers of progressive metal—would not have developed an eccentric, eclectic progressive/hard style without the example of musicianly progressive rock from 1969-77. However, the band’s music also relates to the influence of blues-oriented hard rock and power-oriented heavy metal from the same period. Rush’s 1978 album Hemispheres begins with its title-track, and with it the band provided its last of three album-side-length compositions. “Hemispheres” establishes a conflict between the left (thought or “reason-oriented”) and right (emotion or “feelings-oriented”) halves of the human brain. The band anthropomorphizes these according to classical/mythological references to the gods Apollo and Dionysus, respectively.
The paper explores the large-scale design of Rush’s “Hemispheres,” including its sections, form, metrical construction (including 12/8 and 7/8), lyrical features, and tonal complexities. The latter include extended chords, inversions, cross-relations, chromaticism, modes, ambiguous progressions, and various solutions to a particular cadential figure. Among other things, Rush uses nearly identical music to equate a pair of extended lyrical frames as equally inadequate ideologically. The band then converges on additional musical and lyrical frames that themselves become a reconciliation. In this manner, Rush mythologizes the post-counterculture of needing to unite heart and mind into something new.
Spending hundreds of hours every year doing academic work on book chapters, journal articles, and conference papers when I don’t even have an academic job — and am thus doing it all for free — is highly exploitative. So, after my current projects wrap up in the next couple of months, I’m not going to do these things anymore. I want to do more academic research and writing, but the system is not set up to pay anyone directly. That needs to change.
This article reworks ideas about parody, postmodernism, and television from such critical and cultural theorists as Linda Hutcheon, Jason Mittell, and Jonathan Gray to contextualize the wide variety of parody and intertextuality in the music of the animated TV show The Simpsons. It explores several categories of the show’s music, such as: variations of cartoon themes, songs, instrumental underscoring, and guest musicians. This article particularly uses specific episodes of The Simpsons to highlight parodies of the show’s own theme, movie music, themes from other TV shows, and so on. The show’s music thus functions as a kind of court jester or king’s fool.
Of the eighteen people contributing to the forthcoming Cambridge University Press book on progressive rock, sixteen are university-affiliated academics (so it would be reasonable for them to expect to do such things as a part of their employment), one is VP of Education at the Rock and Roll Hall of Fame and Museum, and one is a computer technology order support specialist making the equivalent of about $11 U.S. per hour. Guess which one resents doing academic research and writing for free, given that it has nothing to do with his employment?
Denied the opportunity to use his talents in the paid service of his profession, the unaffiliated musicologist began to operate what he called ‘The Operation’… He would select a book or journal editor and then threaten not to send in his chapter or article if they paid him. Four months later, he started another operation, which he called ‘The Other Operation.’ In this racket, he selected another victim and threatened to send in his work if they didn’t pay him. One month later, he hit upon ‘The Other Other Operation’. In this, the victim was threatened that if they didn’t pay him, he wouldn’t send in his work. This, for the unaffiliated musicologist, was the turning point.
I always sort of hoped that Rush’s drummer-lyricist Neil Peart and I would cross paths at some point and have an interesting conversation. We both first lived on family farms in Ontario, our fathers both worked at International Harvester dealerships, we both wrote multiple books (much of my work being about Rush’s music), we are both Canadians who lived in Los Angeles for a time, he was nicknamed “The Professor,” and I actually once was a Visiting Assistant Professor. Rush’s music is not everyone’s cup of tea, but the complexity (definitely present in the drumming), the constant stream of influences (lyrical and musical), and the work ethic were remarkable. Please consider giving a monetary gift in his memory to a cancer charity of your choice. RIP, Neil.