Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student assistant Wonyoung (class of 2023) and features songs from a Korean classical singing crossover tv program.
Classical Crossover 2: Phantom Singer
Lately there has been a trend of mixing old classical orchestral music with more modern pop or other genres of music. This is called crossover where you crossover classical music with modern pop music. When opera and classical music become dry for me, I like to refresh myself with some crossover music. Here is some well known modern music which you may recognize that have been crossed over.
Editor’s Note:Phantom Singer is a Korean music television program which aims to pick a male crossover vocal quartet. The selections on this playlist are from various seasons of the show.
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.
One of the best films I have watched is definitely La La Land. For the longest time, I have heard so much about this film and how it is so many people’s favorite movie. But I never understood the hype for it until very recently.
La La Land is a musical centered in Hollywood as two individuals fall in love. Emma Stone plays Mia, an aspiring actress, and Ryan Gosling, plays Sebastian, a struggling Jazz pianist. The characters meet and fall in love as they try to pursue their dreams. This is a beautiful movie about following one’s dream, falling in love, and the hard decisions that can intervene between the two lovers.
This movie is filled with beautiful Jazz music, many colorful and beautiful scenes, and moments that make you fall in love with the story. The soundtrack in particular is very compelling. My favorite tracks from the movie are “Mia and Sabastian’s Theme,” “Planetarium,” and “City of Stars.” The Music Library actually has a score dedicated to the music in the film. The score focuses on piano, vocal, and guitar chords arrangements for anyone to try.
If you have not yet watched or heard about the amazing film La La Land, I definitely recommend giving it a try!
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.
La Boheme Original 1896 poster by Adolfo Hohenstein
I was never an opera guy. It is not that I did not like opera. I just did not know about opera. I was never in a situation where opera came to the forefront of my mind. In other words, I was not exposed to opera. It was a distant thing to me; ladies singing on balconies with horned helmets and weird facial expressions to sing the difficult pieces tasked to them was my only frame of reference. When in a car with friends on a Friday night, nobody was putting on Verdi, Wagner, or Rossini. The store playlist of my high school job certainly was not playing the greatest opera arias known to man. Even the mainstream celebrities of today that people idolize so fiercely weren’t opera singers (although some deservedly should be).
And so, you cannot blame me that I grew up and more strongly resonated with the music of the day and the ones of my parents. Opera just does not show up in everyday life; in a way, you must go looking for it. Actually, for me to say I never engaged with opera is a bit of stretch. There are pieces that my dad has listened to or showed me. Most of the orchestral concerts I have been to have played a piece or two from a world renowned opera. Some movies contain them in their scores. And finally, some movies use these operas as their source material and are loosely based on them.
Despite that all being true, I cannot call myself an opera fan. I can’t because of how limited my exposure has been to the craft. Compared to the amounts I know of all other genres (minus country), I barely scraped the surface of operatic music. My knowledge was equivalent to knowing the ABCs, but only up until C. In the words of some of my peers, I was considered “a casual.”
But as with all things addictive, it only takes a taste for you to get hooked and interested. I only needed one person to expose me to this new world. I only needed one person to be able to convince me of its beauty. I only needed one person to show me how much this meant to them, as so that same joy could spread over me. And while some things addictive are not necessarily good for you, I am proud to say that mine is a much healthier alternative. And surprisingly, it only took a forced general education requirement where I am obligated to sit in a classroom for two and a half hours a week for fifteen straight weeks to introduce me to this world. I think that is a fair deal.
Anyways, I do not think that my professor really expected anyone to enjoy opera at the ages of 18-22. The music is so different from mainstream music and the norms of music today that it was not an outrageous guess for him to say we may find this a bit boring and uninteresting. That did not stop him though from hoping that it could resonate with us and perhaps make us find a new appreciation for it. Ultimately, I do think that about 70-80% of the class remained disinterested and will never watch an opera ever again (which is fine, at least you gave it a spin), but I am beyond surprised with how quickly I ended up enjoying and looking forward to class. I like to consider myself a man of music; I may not study music, or play music, or read music, or anything like that. However, I am a listener that does not have a narrow taste. I am familiar with music from all ages, across the world, and will give anything a listen at least once.
I personally have this rule that I will never listen to a piece for the first time needing convincing. I have a few friends like that where they need something to happen to convince themselves that the music is good. Or better yet, they already have a baseline standard of what is good music and judge the song based on how well it conforms to their already pre-existing baseline. I CANNOT STAND THAT. For me, I treat every piece individually and try to find the good in every piece. And so, most times, you are not ever going to hear from me that a song is bad. And I think in an even better vein, it has allowed me to appreciate all types of music and being able to know that although it is different, it still has redeeming and exceptional qualities that make the work good in its own right. Call it mature, or call it awesome or whatever, but I think that alone has been the biggest contributor to my interest in the course.
I knew the course would cover opera. I also knew that I was not very familiar with opera. I also knew that generally, younger audiences do not typically appreciate nor listen to opera. Finally, I knew that whatever my opinion of opera might be, I would have to at least give it a chance for fifteen weeks and do everything in my power to keep an open mind and take the course with excitement. And that was what put me in a different boat than the other 70-80% of my classmates.
I think the next logical point of attack for me to discuss would surround which opera we engaged with. This is the most important part. Just like most interactions, the first impression is the most important. And as a professor, that is a big task. You need to show us (your students) some of the most popular and captivating operas so that we are drawn to it. You need to try and wow us (even though I am easily wowed). You also need to not show us the best possible piece of the trade, or else your students may be set up for disappointment if they think all opera will be as good as this one. Personally, I think my professor did well. Looking at a totally definitive and set-in stone ranking by only one classical music website with no possibility of differing opinions allowed (no sarcasm found here), the opera chosen to be our gateway opera was ranked #2 all-time. That is comforting. If this ranking list was somehow ever able to be proven true, I could be reassured that I could lay my eyes on one piece that is considered better than the one I watched in my lifetime. And better yet, just because we watched #2, that does not mean that all the rest below are bad. It just means that in the eyes of that beholder, they are not as good, which could still mean these are excellent and grandiose spectacles of art.
The opera we watched was La Bohème. Speaking truthfully, the music, the set design, the acting, and the singing was flawless. The way opera singers can sing with such fullness and strength was just shocking. It felt as though iron lungs were placed in their bodies during set changes so that they would never run out of breath. I was amazed. In fact, I was so into it, I had to look up the spark notes of the plot while we just finished Act II because I did not want to wait a week and a half before we would finish it up. I also read a little about Giacomo Puccini, who wrote the opera and the score. I read about the history of the performances of La Bohème. I read about Luciano Pavarotti, one of the men most synonymous with the main protagonist. I read about other operas written during the time of La Bohème’s release. I looked up the most famous opera arias and listened to a handful of them to engage with the material better. I even went to the library and took out the sheet music for the opera and just flipped through it to see the complexity of the music for about a half an hour.
There was just something to it that touched the right chord. I guess I was just dying to find new music and try something new that I had come across opera at the exact right moment. Being so different, so grandiose, and so epic in comparison to the synthetic music of today just showed me how much more talent and how much more complex music was at the time. Music was not just something that sounded good. It was meant to envelop you, draw you in emotionally, play with your feelings, and take you on a journey. It was storytelling in the form of instruments and voice.
I could go on and on about the intricacy of the plot and what I think each part means and symbolizes, but I feel as though I would spoil too much. I want whoever is reading this to watch it for themselves and take it in the same way I did. What I will comment on is my favorite piece, and the characters themselves.
The best piece of the opera in my opinion is “Che Gelinda Manina.” It is part of the first act in which Rodolpho, the main character, tells Mimi that her hands are cold, as well as a glimpse into who he is. I think I like it so much, because as a male who had done theater in high school, I understand just how hard it is to sing in general. Then, expanding my range to hit high and low notes was almost impossible because I was never trained. It was all breathy and from the back of my mouth/throat which is the exact way one will get laryngitis. And so, it is safe to say that I was not a very good singer, but did my best for it to come out alright. Taking that one step further, if I had to sing opera, it would have probably gone a little like this: the first couple notes are alright. I begin to run out of breath. The notes are getting higher. I find myself getting red in the face. My voice cracks. The song is ruined. The crowd boos. Career ended.
And so, I have personal experience that I can resort to that demonstrates how difficult opera singing is. Even better, to be good at opera is almost impossible (for me). The voice control, the range, the strength, and the projection is just something I cannot do. It is also noteworthy to point out that my voice is not very suitable. I am still waiting for that burly man voice to kick in if it ever does. Regardless, it is just a piece of art and it is one of the most sentimental and touching moments of the entire show.
It was so good and resonated with me so much, I checked out the score for the song. Seeing it was too complicated for me to probably play, I humbly put the book back into its place and remembered that my piano skills are equivalent to a fourth grade beginner.
As for the characters, there are only six main figures. There are two love plots: Mimi and Rodolpho and Musetta and Marcello. Rodolpho and Marcello are very good friends, find themselves in the same situation in life, and are almost inseparable, but the differences between the two’s love lives are extremely evident. The love that Mimi and Rodolpho share is pure, eternal, and perfect. This heavily differs from Marcello’s, which is fueled by arguments, envy, and distrust. The other two characters are Schaunard and Colline, who are the remaining two men that live in Paris with Rodolpho and Marcello.
Ultimately, I would have to say Rodolpho is my favorite character. I think Puccini purposely makes the viewer choose either Rodolpho or Mimi, as the entire plot is mainly focused on the love dynamic of the two. And, given that I am a male, I feel a stronger connection to Rodolpho’s characteristics, his plight, his insecurities, and his problems. It is also easier for me to place myself in his shoes and experience his pain firsthand even though I am only just a viewer. There is something about him that I like so much. Maybe it is his purity and selflessness. Maybe I just like that he made the ultimate sacrifice to see someone he loves so happy. Maybe it is his ability to remain happy even though there is no money to his name. I am not sure. Maybe it is a combination of all three.
Regardless, I never expected that I would be able to dive so deep into opera in just a few class periods. Learning about this new (ironic) style of music has given me a whole new world to explore and has broken up the monotony of the everyday listens that are a part of my life. I hope that me showing a little bit about the joy this opera and opera in general has brought me has convinced you to listen to me. I know it may be hard to believe me, but trust me on this one.
You do not even have to go far to pick it up. If you are a University of Richmond student, faculty, staff, or friend of the library, you too could immerse yourself with the widecollection of all sorts of resources on La Bohème. Stop by soon, and maybe we can chat about it if I am at the front desk!
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student assistant Luis (class of 2025) and features songs to help you decompress after a busy day.
Letting Go Of My Thoughts
This a playlist of mostly indie and indie pop artists with a few classic older songs from bands like the Beatles, Led Zeppelin, and Jim Croce. I find that listening to these songs helps me decompress when I’ve had a long day and allows me to ease all the thoughts in my head.
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.
The musical Les Misérables is the stage adaptation of Victor Hugo’s novel of the same name. The musical was initially written in French and first performed in 1980. After a short performance in Paris, Cameron Mackintosh produced an English-language version for British audiences. The DVD edition we have in our library is a copy of the recording on October 8th, 1995, the 10th anniversary of the musical Les Mis at Royal Albert Hall.
The story takes place in France in the early 19th century, about a French peasant’s desire for redemption. Jean Valjean was in jail for 19 years for stealing a loaf of bread and was released in 1815. Inspired by the Bishop, Valjean decided to break his parole and start his new life; however, a policeman named Javert refused to let him escape from justice but continued to hunt him for years. To avoid the wrath of Javert, Valjean found him in Paris on the eve of the 1832 Paris Uprising.
The release of the musical Les Misérables was overwhelmed by positive and negative comments, and some condemned the decision to convert classic literature into the musical. Nevertheless, the song “Do You Hear The People Sing?” is still on my playlist, and I will never forget the feeling when I first heard it.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student assistant Nicole (class of 2024) and features music by and for independent women.
I Can Buy Myself Flowers
This year has welcomed us with remarkable women in music, stepping up to show how much they are worth and how they don’t need no man! For starters, Miley Cyrus has given a new anthem to all women around the world who have ever been mistreated or underappreciated by their significant other, with her new song “Flowers”. This is a playlist for all the single ladies who have felt the need to roll their eyes at relatives and friends asking if they received any flowers for Valentine’s Day. An independent woman can, in fact, buy herself flowers.
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.
If you or a musician you know have ever learned a challenging piece, one of the most important things you can do to successfully practice is count as you play. Measures, rhythms, polyrhythms, fingerings, tempo… numbers are all over music, whether explicitly or hidden between the notes. What you may not realize is that the mathematics of music has been studied for thousands of years and is a widely expanding field today. In the book Mathematical Music: From Antiquity to AI, Nikita Braguinski explores this relationship from 550 B.C. to the present-day and future.
If this doesn’t sound interesting yet, here are a few fun facts from the book:
– The first machine entirely dedicated to “composing” music was designed around 1650 and combined random snippets of notes to generate a melody. Referred to as a “musical thinking machine”, this demonstrates just how long people have been using machines and mathematics to create music – hundreds of years!
– Some of the same names we know from calculus and other advanced math reappear on the music scene as well. Both Euler and Leibniz published works searching for the hidden mathematics behind what makes different ratios of frequencies (or intervals) delightful or unappealing to the human ear. Although they didn’t find anything concrete, they introduced the idea of listening as an art of subconscious counting.
– The (then) newly-formed Soviet Union had an intense interest in structural formalism in music and created multiple initiatives dedicated to art as a science. This coincided with an era of musical exploration into dissonant, atonal music and shows how the new revolutionaries distinguished themselves from the traditional Russian music of years past.
– Today, we have the computerized tool of neural networks, a deep learning AI technique to generate music on the spot given a certain style (or input parameter). Where do you think this will take music?
All of these stories, experiments, and techniques can be found in the Parsons Music Library. If you’re intrigued, be sure to check out this book along with others on the interdisciplinary nature of music.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Esther (class of 2025) and features songs for waiting in the UR dining hall affectionately known as Dhall.
Dhall
Songs I don’t understand but keep me happy while I wait for my panini.
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.
Amy Winehouse’s album Back to Black has been my top album since I was 16. Not only is the unique quality of her voice astounding but her lyrics perfectly encapsulate the realities of an abusive relationship.
Back to Black was Winehouse’s sophomore album and the title track, “Rehab,” suggested the album would be nothing like its predecessor Frank (released in 2003). Frank sounded as if Winehouse had taken the lyrics of an artist like Michael Bublé and added a bit of hip-hop to it, the most notable piece was her voice.
These raspy painful notes that begin “Rehab,” a Top 10 hit in the UK and US, point to the three years between Frank and Back to Black being far from easy. After Frank debuted, Winehouse began a very topsy-turvy relationship with Blake Fielder-Civil, a music video assistant. Fielder-Civil has come forward and admitted to being Winehouse’s introduction to hard drugs. The two would get into physical and verbal altercations in public, the catalysis of this being Fielder-Civil leaving Winehouse at one point for his ex-girlfriend.
Fielder-Civil leaving was the inspriation for the song “Back to Black.” It described the dark moments of depression she felt after he left. It also described how she went back to abusing alcohol after he left because she didn’t have anything else to cope with.
Another of her famous singles “Love is a Losing Game,” a long metaphor for love being an unfair game, the song, while quite simple with lyrics like “Know you’re a gambling man/ Love is a losing hand,” is considered to be one of Winehouse’s most powerful songs because of its deep meaning.
My personal favorite song, “Tears Dry on Their Own” is an anthem for those who need the hard truth: it is time to get over it. In an interview with BBC, Winehouse described her inspiration for the song: “I was with someone that I couldn’t really be with and I knew it wouldn’t last. But I think because I knew it couldn’t last, it’s kinda like saying, “I’m upset, but I know I’ll get over it, I guess.”
After a stint in rehab and an arrest for marijuana possession, Winehouse won five Grammy Awards in 2008, an award ceremony she was not able to attend as the US denied her visa on grounds of use and abuse of narcotics. That same year, Back to Black was said to be the second-highest selling album in the world. Winehouse died of accidental alcohol poisoning on July 23, 2011.
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.
Pyotr Ilyich Tchaikovsky (1840-1893) was one of the most famous Russian composers. The general public greatly enjoyed his music due to its tuneful melodies, perfect harmonies, and attractive orchestration, all of which together invoke a strong emotional response. He is known for the ballets Swan Lake (1877), The Sleeping Beauty (1889), and The Nutcracker (1892).
Tchaikovsky took up serious composing at the age of 14. In 1862 he began his studies at the St. Petersburg Conservatory, and starting in 1866, he began teaching at the Moscow Conservatory. Tchaikovsky revolutionized ballet: transforming it from a grand decorative gesture into a staged musical drama.
I’ve found Tchaikovsky’s music to be particularly useful for helping me focus while studying. Although his work can sometimes hijack your attention, I find it useful to break away from the books and listen to Tchaikovsky’s melodies as a break.
You can check out this book in the Parsons Music Library if you’d like to learn more about Pyotr Ilyich Tchaikovsky and his work.
