Lineless Living

Lineless Living

As I wrote last year, I am incredibly particular about my personal journals. I am perhaps even more picky about the notebooks I use for schoolwork. To my absolute horror, at the beginning of this semester, I purchased a beautiful teal Moleskine . . . without lines.

I opened it in my first class and was shocked. Opening its covers, I was confronted by the most beautiful yet terrifying sight know to writer-kind: a blank page.

I am a disciplined and regimented person. I write along lines to prevent disordered notes or random doodling. I follow schedules to maximize my productivity. I have my regular breakfast down to a science (complex carb + nut butter + fruit + black coffee, in case anyone was wondering). If I had my way, my entire life would follow the same hourly, bell-governed schedule of my high school years.

However, the lineless pages of this notebook came to symbolize my first semester of graduate school: beautiful and terrifying in its unscheduled unfamiliarity.

My undergraduate years, in their insanity, kept me sane. 18 unit semesters (plus 0 unit courses), constant rehearsals, several part-time jobs, a regular exercise schedule, and church engagements meant that almost every second of my time was regulated. And, as much as I complained, I thrived in this environment of deadlines and determinants. (Does “Deadlines and Determinants” sound like one of Jane Austen’s less-popular works?) This semester, however, not only did I find myself in a foreign country with a completely different academic system, but I was permitted a daunting amount of free time.

I kept busy working music jobs and studying organ at a gorgeous local church, and my coursework was challenging enough to keep me occupied. However, with class only two days a week, I had to construct routines when previously they were thrust upon me by necessity. For my regimented soul, this became depressing, for I came to realize that I depended on my busy schedule to keep me motivated, as well as to provide a regular social life. Living alone in a new country with a surprising lack of time constraints, however, I found that I had to seek these things out myself.

Taking notes on blank pages was nearly the proverbial straw that broke the camel’s back. It aggravated me when my handwriting slanted diagonally, or when I doodled coffee cups among my reading notes. It caused physical discomfort to see the varying sizes of my notes. The freedom was too much for me.

However, something began to happen as I doggedly continued filling that void of a notebook. I began to realize that I loved being able to draw in it when my mind wandered and that I actually liked that I could take notes in different styles. I learned to enjoy the potential of crisp white pages, just as I learned to see the loveliness of late-morning frost despite my hatred of the cold.

I learned to adapt, though I cannot say it was with pleasure. I learned to let myself doodle and to be gracious when my handwriting was not a perfect font. In life beyond the notebook, I grew accustomed to freedom. I certainly enjoyed being able to go on long runs without worrying about being late for rehearsals, for instance. Still, it was overall an uncomfortable semester without the comforting tethers of a set schedule.

Throughout my undergraduate, I rose early and worked late. I was filled with a sense of purpose every day. Perhaps I was tired from launching into another degree so quickly. Perhaps it was that the sun barely makes an appearance during the Scottish winter. Perhaps it was the loneliness of having to make all new acquaintances and no longer living with my best friends. More likely, though, it was the “lack of lines” that caused me to feel a sense of unsettled ennui throughout my first semester abroad.

But I am grateful for the lineless living. Even in this uncomfortable freedom, I accomplished more than I realized. I have learned so much new music. I have written several large papers (not without some tears), each better than the last. I can now use unnecessarily complicated words like “apophatic” in a sentence. I learned how to make some pretty killer soup. And, despite my initial anxiety and continual discomfort, I finished the blank journal.




It is filled with lecture notes, as well as the frustrated outlines of academic papers that did not go according to plan but ended up much more interesting for that. If flipped upside down and read backward, it is also filled with story drafts, poetry fragments, and whistful doodles of my favorite SoCal café.

It is perhaps my most marvelous notebook and, although often filled with the resounding emptiness of a frosty morning, this semester became a thing of great beauty. The best words to describe the growth I experienced are perhaps found in my old sonnet “To Travel.”  I am grateful for the blank spaces I experienced, and for the work and words that filled them.

To my great relief, though, my next notebook has lines.

Theme and Variations

Theme and Variations

Not long ago (though it seems a lifetime), I wrote about modulations. The idea that the dissonance of post-college life would eventually resolve into normalcy was comforting; considering the modulations in music were consoling to me as I felt keenly the sudden transitions I experienced after four years of relatively little change. 

Several months later, I find myself facing another transitional period as I recently moved to Scotland to pursue my master’s in “Theology and the Arts.” Despite my love for this country and its culture, I was nervous: where would I fit in? Back in the States, I had clear roles, routines, and relationships. A creature of habit, I was overwhelmed to find seemingly everything changing, from my time zone to breakfast foods.

Just as a musical metaphor was helpful in reframing how I approached this past summer, I found that the same to be true of settling into a new place and new chapter. In-between, the key is modulation. Now, though, it is theme and variations. Theme and variation is perhaps the simplest musical form to explain: pick a melody or some other musical statement and repeat in different ways until it wears out its welcome. This compositional structure provides the basis for both smaller, stand-alone pieces (such as Mozart’s classic 12 Variations in C Major, K. 265, which most will recognize as “Twinkle Twinkle”) and larger works (such as Edward Elgar’s Enigma Variations and Bach’s Goldberg Variations).

The trick to listening and learning such pieces is simply to memorize the key theme and then discover its subsequent incarnations. Indeed, this is the key to internalizing music of all sorts, for it is difficult to ever truly escape from themes and variations. For instance, during my sophomore year as a piano major, I was assigned a piece that was — so I thought — far, far beyond my capabilities. Near tears, I asked my teacher how on earth I was to conquer it. I could not imagine my hands becoming familiar with and even fond of this monstrous composition.

“Memorize it bit by bit,” was my teacher’s first bit of advice. “Start with the main themes and motifs and then find how they vary and develop.”

Learning this piece was a war won by small battles. Still, I came to know it better than any other, and, though it challenged me with every practice session, it became mine. The professor in the studio next door came to recognize that when he heard its opening theme, I must be at work. That daunting piece went on to earn me my first victory in the university’s piano competition and, more importantly, I found that I was able to play it with surprising joy.

Any modulation, be it a new piece or a new chapter in life, must be conquered the same way: Identify a theme, find its variation, and move on to the next. During my first weeks in St. Andrew’s, I have intentionally sought out the elements that I know to be essential themes in my life and, finding these (though in slightly different forms) I have felt more and more at home.

For example, throughout both high school and college, I was the on-call accompanist at my schools. This is a key theme that makes me feel as though I fit in, as though I have a clear role and am known for my skill set. So, as soon as I could, I introduced myself to the music directors at my new university and, within an hour, had several gigs lined up. As an organist and choral singer, I pursued and quickly found a church music ministry. My community of faith and worship during my undergraduate years was essential to my wellbeing and service. Fully aware of this and feeling keenly its absence, I immediately pursued a new position in the same vein, with similar yet diverse people.

Knowing the themes I relied on for normalcy back home, I ardently sought their Scottish variations, and with each new rendition of a continuing idea, I perceived the puzzle of my life falling more and more into alignment with what it ought to be. 

The same is true of smaller elements, of motifs. Themes, in music, are generally the larger building blocks of composition; they are the melodies that recur and are recognizable no matter their evolving ornamentation or transpositions. Motifs, however, are the smaller elements that, though often only a single chord or ornament, are sure to be felt if missing.

My motifs are running trails. Bookstores to sniff around. A coffee shop to frequent. Possibly a garden with a particular bench. Houseplants on my windowsill. Floral accents to everyday items. These seemingly unimportant things are the glue that hold the larger blocks — the themes — together in harmony. Again, similar to the piece I learned years ago, as soon as the small pieces are in place, the larger ones become more manageable. 

Motifs are often quicker to come than themes, making them the best place to start when feeling overwhelmed in a new place or new stage of life. It is so much easier to thrive in the grand scheme of things when the small details are tidy and familiar. Find them, these little things that bring you back to your senses. Love them and cultivate them and use them to string together longer melodies, making yourself at home again in foreign modes, unknown places, until these new-yet-familiar themes, too, become a part of your life song.