Arachnophonia: The Lion King

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Isaac (class of 2025) and features piano/vocal selections from The Lion King. Thanks, Isaac!

The Lion King

The Lion King piano/vocal selections

The score from The Lion King by Elton John, with lyrics by Tim Rice, has long fascinated me, compelling me to explore its depths beyond the surface level of its widespread appeal and just songs I’ve heard since I was little. As someone who has always enjoyed children’s movie scores, I find this score to be a particularly striking example of how melodies intertwined with poignant lyrics can create a tapestry of sound that is both enchanting and something that was stuck with me for quite some time––even as I’ve gotten older.

What makes this score particularly interesting and worth studying is not just its ability to support the narrative arc of an iconic film but how it seamlessly blends a variety of musical styles and cultural influences, creating a universal appeal that transcends geographical and cultural boundaries. Elton John’s compositions, infused with his signature melodic flair, are elevated by Tim Rice’s evocative lyrics, which together capture the essence of the story’s themes—power, betrayal, love, and redemption. The integration of African musical elements with Western pop sensibilities in the soundtrack offers a fascinating study in cross-cultural musical fusion, showcasing the richness that such blends can bring to mainstream music, and I really do think its aurally emblematic of everything Disney had hoped to achieve with the project.

Arachnophonia: Twenty One Pilots “Blurryface”

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Yangyue (class of 2024) and features Blurryface by Twenty One Pilots. Thanks, Yangyue!

Twenty One Pilots

Blurryface

Twenty One Pilots - Blurryface album cover

While Blurryface has never been my favorite album by Twenty One Pilots, “Stressed Out,” the first song I heard from this album, holds a special place for me as it introduced me to the group.

Originally a band, Twenty One Pilots is now a duo. “Heathens” is probably their most well-known song, released as the lead single from the motion picture soundtrack to the DC Comics film Suicide Squad (2016). The album dives into themes of insecurity, anxiety, and self-doubt, personified by the character of Blurryface, representing the darker aspects of the human psyche. Each track feels like a window into the singer’s inner turmoil, with hits like “Stressed Out” capturing the universal feeling of pressure to succeed while longing for simpler times. The album blends genres like pop, hip-hop, and alternative rock.

Though some people, including fans, may criticize Blurryface for its commercial success and mainstream appeal, its widespread popularity shows its ability to connect with listeners on a profound level, addressing universal themes of insecurity and self-doubt in a relatable way. However, I believe that other tracks like “Lane Boy” and “The Judge” deserve the same appreciation as the most popular singles. I listened to them a lot when I was stressed out in high school.

Arachnophonia: Instruments in the History of Western Music

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Esther (class of 2025) and features a book about the history of musical instruments. Thanks, Esther!

Instruments in the History of Western Music by Karl Geiringer

Instruments in the History of Western Music

We have often affectionately labeled music as the “universal language” throughout the years, though our reference is typically rooted in Western notation, which is familiar to the majority. During my time at the University of Richmond, I discovered that while music shares many characteristics with languages, it isn’t truly universal. Even within the Western music domain, the evolution of music has taken diverse and transformative paths.

In Karl Geiringer‘s book, Instruments in the History of Western Music, he delves into the history of musical instruments spanning about 25,000 years. My interest in this book was piqued after discussions about the distinct standards composers adhered to in the Baroque, Romantic, and Classical Eras. After understanding how these standards influenced compositional styles, audience perspectives, and society’s notions of a musical “genius,” it became apparent that the evolution of instruments was also inevitable.

Dr. Geiringer’s book stood out to me for his approach to illuminating the cultural and historical contexts of the instruments. This methodology provides readers with a solid foundation, enabling a deeper understanding of how instruments have genuinely evolved, mirroring the values held during each era.

Arachnophonia: Back to Band

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record(s) for the item(s) in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Eliana (class of 2024) and features books on musical technique for clarinet, oboe and flute. Thanks, Eliana!

Back to Band

Were you a band kid in high school that hasn’t picked up your instrument since you arrived at Richmond? If so, here’s your chance to get back into the swing of things! I played the clarinet – so I’m partial to upper woodwinds – but here’s a few books for late beginner/intermediate woodwind players that might help reinvigorate your love for your former instrument.

A Tune A Day For Clarinet

A Tune A Day For Clarinet

This book offers some initial lessons on tonguing, finger placement, and scales and also has accompanying pieces to work through that utilize the skills practiced. If you finish it and feel like a pro, volume two (also available at Parsons Music Library) has some more difficult songs and arrangements for even more growth.

Belwin’s Oboe Method

Belwin's Oboe Method

Also divided into multiple books, Belwin’s Oboe Method is a great way to return to the basics of oboe playing. It divides songs into keys, has some necessary scales and talks musical terms. If you move on to volume two, the songs get a little more complex and you learn all about syncopation.

Foundation to Flute Playing

foundation to flute playing

Foundation to Flute Playing takes a lesson-based approach; the book is divided into 59 lessons that get progressively more challenging, and the back is filled with some fun songs to try your hand at after making your way through the lessons. From the chromatic scale to cadenzas, this book doesn’t leave anything out!

If you played a different instrument and wanted to check out some books or scores for it, just ask any associate at Parsons Music Library and they’d be happy to help you find what you’re looking for!

Arachnophonia: Camille Saint-Saëns “The Carnival of the Animals”

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Xipeng (class of 2024) and features Camille Saint-Saëns’s “The Carnival of the Animals”. Thanks, Xipeng!

Camille Saint-Saëns – “The Carnival of the Animals”

Carnaval des Animaux

Camille Saint-Saëns, born in Paris in 1835, was a prominent French composer of the Romantic era who displayed extraordinary musical talent from a young age. He was a versatile musician, excelling in various genres, including symphonies, operas, and chamber music. His compositions often reflected a blend of traditional forms with modern influences, contributing to his reputation as a forward-thinking composer of his time. “The Carnival of the Animals” is one of Saint-Saëns’ most famous masterpieces that showcases his playful imagination.

French composer Camille Saint-Saëns (1835-1921)

The Carnival of the Animals” was composed in 1886, a lighthearted and whimsical suite of fourteen movements for chamber ensemble. The piece was originally a private work and the composer requested not to be published during his lifetime, fearing that its playful nature would detract from his more serious reputation. It was published after his death and became one of Saint-Saëns’ most beloved compositions. Each movement in the suite represents a different animal, and each is characterized by distinct melodies, rhythms, and instrumental colors that vividly portray the featured animals.

Here is a performance of “The Carnival of the Animals” by Zagreb Music Academy Chamber Orchestra:

Feel free to check out recordings, scores and biographies at Parsons Music Library!

Arachnophonia: Janis Joplin

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item(s) in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Amy (class of 2025) and features two CDs featuring music by Janis Joplin (1943-1970). Thanks, Amy!

Janis JoplinPearl and Greatest Hits

Janis Joplin - Pearl (1971) album cover

As a girl whose father crafted her music taste, you would think my favorites would be The Beatles or The Eagles, Jimi Hendrix, or even Led Zeppelin. Instead, my father decided to raise a young girl who only listened to melodramatic psychedelic rock music like Janis Joplin.

Sitting in the back of my dad’s car, he slipped his Pearl CD into the player and told me, “This is what good music is, so, listen closely.”

The raspy and powerful voice of Janis shook my world, and I couldn’t get enough. We listened to the entire album and I knew Janis was the perfect artist for me. I even started dressing like her. I had just gotten glasses and was admittedly embarrassed, but once I saw the funky big frames Janis had, I got myself a pair and didn’t feel as worried about how I looked.

The last song my dad showed me was “Mercedez Benz.” The song was a stark difference from everything else on the album-it seemed more casual, and it was a cappella; every other song had a backing band.

After the song was over, my dad told me the horrid news: Janis died of a heroin overdose three days after this first and only recording of “Mercedez Benz.” Three months after her death, her album Pearl was released, her second solo album.

Despite the unfinished nature of the album, it does not even begin to sound that way. Her confidence and remarkable songwriting skills take her far in the album.

The opening of the album “Move Over” is a funky welcome to the album but fits the band (the Full Tilt Boogie Band) and Janis well. The song may be about a breakup but it’s also a song of female empowerment, she’s taking back the reins of her own romantic life.

One of my other favorites on this album is “Cry Baby.” It’s dramatic and passionate and just shows off her voice so well. The song is loud and head-banging at times, but it’s also sorrowful. That’s the power of Janis, she may be the queen of rock, but she’s also the queen of the blues.

Pearl and Janis Joplin’s Greatest Hits are both available as CDs in Parsons Music Library. I highly recommend picking up both as her Greatest Hits also includes music from her first two albums with Big Brother & The Holding Company.

Janis Joplin's Greatest Hits - Album cover

Arachnophonia: Of Bluey and “The Planets”

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item(s) in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Kiran (class of 2024) and features Gustav Holst’s The Planets and its use in an episode of the animated series Bluey. Thanks, Kiran!

Of Bluey and The Planets

Bluey  - "Sleepytime" title card

My parents both work in pediatric healthcare, and now that I’ve grown up, they have gotten out of touch with what kids like to watch. My mom will sometimes put on Disney shows while she’s doing other work so that she can know the characters that her patients love. Recently, my whole family has started watching Bluey every chance we get. Since I go to school in another state, I haven’t had a chance to watch it recently. It’s a show that’s made for kids while still bringing in something for adults to enjoy, which is why we love it so much. The storyline follows 6-year-old Bluey, a blue Heeler dog, and her family.

My favorite episode is called “Sleepytime”, where Bluey’s sister Bingo reads a bedtime story and dreams about flying to different planets. The ending scene always makes me cry, and part of it comes from the beautiful instrumental music that plays during it. It’s a slightly remastered version of Gustav Holst’s The Planets, specifically Op. 32: 4. Jupiter. The story and string part fit beautifully together and make for the perfect episode to watch with family. You can listen to or play this piece by checking out our selection at the music library!

Arachnophonia: Amelie

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Nicole (class of 2024) and features the soundtrack to the 2001 film Amélie. Thanks, Nicole!

Amélie

Amelie soundtrack album

Are you looking for the perfect movie soundtrack for a productive study session?

My favorite movie soundtrack to listen to is Amélie, composed by Yann Tiersen. Amélie is a French film directed by Jean-Pierre Jeunet, released in 2001. The story revolves around Amélie Poulain, a shy and imaginative young woman with a unique perspective on life. Throughout the story, Amélie searches for love and connection, as she navigates her feelings for a quirky and introverted young man named Nino. The film is known for its visually rich cinematography and imaginative storytelling. It is essentially a celebration of the small joys in life, emphasizing the transformative power of kindness and the magic that can be found in everyday moments.

Yann Tiersen’s enchanting and evocative soundtrack for the film Amélie stands as a testament to the power of music in capturing the whimsy and charm of this cinematic world. The delicate piano melodies, accordion harmonies, and playful orchestration transport listeners into the imaginative universe of the main character. Tiersen’s ability to convey the innocence, romance, and melancholy within the film is truly extraordinary. From the waltz of “Comptine d’un autre ete: L’apres-midi” to the introspective notes of “La Valse d’Amélie,” (my personal favorite) each piece is a musical masterpiece that mirrors the emotional depth and complexity of the narrative.

You can check out the Amélie soundtrack CD at the Parsons Music Library!

Arachnophonia: The Lumineers

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Susanne (class of 2026) and features The Lumineers’ self titled album released in 2012. Thanks, Susanne!

The Lumineers – The Lumineers

The Lumineers (2012) - album cover

The Lumineers are an alternative-folk band founded by Wesley Schultz and Jeremiah Fraites in Denver, Colorado. Their first studio album, titled The Lumineers after their band name, was released in 2012 and features popular hits like “Ho Hey” and “Stubborn Love.” The band’s traditional sound, lively stage presence, and heartfelt lyrics drew in loyal fans from across genres and led to impressive feats for the group. The Lumineers were nominated for two Grammys after the release of their first album, highlighting their potential and influence in the folk (and popular) music scene.

For me, the Lumineers’ music is so special because it brings up childhood nostalgia while still holding present-day significance. I first heard their classic songs on the radio and my iPod growing up, so the lyrics and melodies became ingrained in my mind even as I explored other genres and artists. The past few years, I’ve fallen back in love with folk-inspired music, including the Lumineers’ latest releases. Each of their albums hold true to the group’s soulful and acoustic roots while exploring new themes that appeal to a wide variety of listeners. From “Flowers in Your Hair,” to “Cleopatra,” to “Donna,” to “ROLLERCOASTER,” the Lumineers consistently put out songs with catchy verses and simple chords, allowing their audience to easily sing and play along.

If you’re looking to explore folk music, The Lumineers features tons of hits and is the perfect album to start out. It’s available for checkout in the Parsons Music Library so give a listen if you’re interested!

Arachnophonia: Practice Makes Perfect?

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Esther (class of 2025) and features a book about effective music practice. Thanks, Esther!

Practice Makes Perfect?

Deliberate Practice

If you’ve tried improving or mastering any type of skill, whether it be academic, athletic, or musical, you’ve probably heard the phrase “practice makes perfect.” However, this quote may eventually lead one to discouragement. How could you possibly become better if you aren’t practicing as much as you want to?

Elizabeth A.H. Green delves into the structure and logic behind intentional, productive practicing through her book Practicing Successfully: A Masterclass in the Musical Art.

Practicing Successfully: A Masterclass in the Musical Art by Elizabeth A. H. Green.

Professor Green was a highly esteemed teacher who taught with a focus on violin and stringed instruments. In the Practicing Successfully, she writes,” Ultimate success depends upon one immutable, inescapable, and well-publicized fact: the musician has to practice successfully or not.” When you see famous athletes or musicians, the one thing they mention is the continual efforts they’ve put in to reach the point they’re at. So, what makes them different from the others? One section of the book Professor Green points to is the physiological principle of practice and how we can adjust so that we can maximize the productivity of the session.

I have this book checked out personally to myself right now, but I recommend all musicians to take a look at it! Even if you are not a musician, these principles of practice can be applied to other aspects of life.