The Rhythm Is Gonna Get Ya
April 17, 2026
Modern musical lore holds that, early in his career, 鈥淭he Godfather of Soul鈥� (aka James Brown) grew impatient with his band being all over the map rhythmically, so he would repetitively remind his players one-by-one (regardless of their instrument), 鈥淲hat do you play?!鈥� The only acceptable reply was, 鈥淚 play drums!鈥� The lesson instantly reinforced their need to connect melody with the adhesive pulse of the music (the drummer), and helped them tighten it up and get on the good foot.
The sentiment was basically the same for Ryan Hecker, an adjunct 麻豆传媒映画 (麻豆传媒映画) faculty member, who saw a need for formalized percussion study in the Music Department, then deftly filled it like an Elvin Jones ghost note. His proposal for a new course 鈥� Percussion Fundamentals (MUE 2470) 鈥� was well received by the curriculum committee, becoming compulsory for Music Education majors, and a great opportunity for anybody wanting to learn the basics of drums and percussion in a classroom environment. The suggestion earned him the "Part-Time Faculty Excellence Award" at the college鈥檚 annual Professional Development Day.
鈥淏efore joining 麻豆传媒映画, I worked as a professional musician in South Florida, performing in a wide range of settings including musical theater productions, big band ensembles, cultural arts events, and jazz venues,鈥� Hecker said. 鈥淭hese professional experiences shaped my understanding of music as a unifying force that transcends language, culture, and social boundaries. This perspective informs my teaching by emphasizing music as a shared human experience rather than solely an academic or technical discipline.鈥�
Hecker said the secret sauce for meaningful learning in music occurs when 鈥渟tudents actively participate in the process, connect musical practice to cultural context, and experience music as a living, human art form.鈥�
In his World Music course, Hecker incorporates live demonstrations by performing traditional instruments to introduce students to global musical traditions 鈥� often their first exposure to new sounds, instruments and cultural contexts. It also pushes back against a more detached, impersonal and synthetic trend in contemporary music education that threatens to steal its soul.
I鈥檒l Count You In
鈥淧articipation in live music and traditional instrumental study has declined, while digital access and artificial intelligence increasingly dominates music creation and consumption,鈥� Hecker explains. 鈥淚n response, I prioritize human-centered, experiential learning that highlights the irreplaceable role of live performance, collaboration and embodied musical practice. My courses emphasize critical-listening direct engagement with musical materials to foster deeper understanding and retention.鈥�
Apart from woodshedding the proficiency of a perfectly accented ratamacue, Hecker is a true believer in the organic instruction of students who hone their craft in collaborative performance and live presentation rather than computer-based composition. In Fall 2026, he will direct a percussion ensemble with emphasis on performance confidence and preparing repertoire for community audiences.
鈥淣otably, this is the first time since around 2015 that enrollment has been sufficient to sustain this ensemble, reflecting increased student interest and the growing vitality of the music program,鈥� Hecker said.
His preference for engaged pedagogy 鈥� performance-based instruction, and outreach initiatives such as honor bands and live concerts 鈥� is slowly building a stable of 麻豆传媒映画 drummers with seasoned chops forged in synchronicity with fellow musicians, providing welcomed percussion support to the college鈥檚 numerous live performances, while significantly lowering the odds that a director will hurl a music stand and scream 鈥楴ot my tempo!鈥�
