Category Archives: Arachnophonia

Arachnophonia: How to Play Dizi, the Chinese Bamboo Flute – The Dongxiao

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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 Tim (class of 2024) and features a book that teaches the basics of learning to play the Chinese bamboo flute. Thanks, Tim!

How to Play Dizi, the Chinese Bamboo Flute: The Dongxiao by H. H. Lee

The Dongxiao

The Dongxiao is a type of Xiao from the Chinese bamboo flute family. It has a history of over 8,000 years, dating back to the Neolithic Age in China. The entire flute is made of bamboo, and its length is usually over 32 inches. It is either carved with six or eight holes, with an additional “V”-shaped hole on the top serving as the mouthpiece (the blowing hole). Sound is produced by air vibration passing through the “V”-shaped blowing hole. It is primarily used in the Yangtze River Delta, especially in Jiangsu Province.

Unlike major Chinese musical instruments, the Xiao has its own unique cultural significance, closely tied to traditional Chinese culture. Due to its distinctive characteristics, the Xiao cannot project a very loud sound. Its unique timbre makes it an ideal instrument for solo performances or duets. Chinese scholars view the Xiao as an instrument for a Junzi (gentleman), and it is traditionally played by scholars to cultivate their minds, often for personal enjoyment or for a very small audience. The airy sound of the Xiao is considered “ambient.” In Chinese aesthetic terms, this “ambient” quality evokes a sense of vast space where people become mere ornaments, reflecting the vastness of nature and the smallness of human beings in comparison.

The book How to Play Dizi, the Chinese Bamboo Flute: The Dongxiao introduces Western readers to the world of the Xiao. It covers the types, structures, and key signatures of the Xiao, along with relatively simple instructions on how to play it and modern Chinese music notation. This book is especially useful for beginners or those interested in Chinese music and culture.

Arachnophonia: Jazz Funk Play-Along

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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 Jillian (class of 2027) and features the Jazz Funk Play-Along Real Book Vol. 5, part of a series of “lead sheets” (aka “fake books”) with accompaniment tracks included. Thanks, Jillian!

Jazz Funk Play-Along

Jazz Funk Play-Along

Do you like Jazz with a little bit of funk? The Jazz Funk Play-Along score at Parson’s Music Library pulls classics from the Real Book to create a fun setlist when you need something upbeat. From tunes such as “Sidewinder” to “The Chicken” this score provides simple yet energetic melodies that leave room for improvisation.

Arachnophonia: Music – A Very Short Introduction

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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.

All links included in these posts will take you to either the Arachnophonia is by student manager Esther (class of 2025) and features an ebook called Music: A Very Short Introduction. Thanks, Esther!

Music: A Very Short Introduction by Nicholas Cook

Music: A Very Short Introduction

If you’re passionate about music and seeking a scholarly yet accessible exploration of the subject, Nicholas Cook’s Music: A Short Introduction is a must-read book. Cook, a distinguished musicologist known for his work on musical understanding and analysis, especially on music performance, formulates complex concepts into an engaging narrative. This book not only provides a broad and understandable overview of the history, theory, and practice of music but also encourages a deeper appreciation of its multifaceted nature.

Even after just reading the first chapter of the book, “Musical Values,” I found myself rethinking my definition of music, its evolution over time, and how others might perceive it differently. In a generation where authenticity and identity are highly valued, it’s crucial to be aware of the origins and influences behind our values and how we use them to critique the sounds around us. Understanding different frameworks helps us appreciate the diverse contexts in which we interpret and enjoy the music we listen to.

For anyone intrigued by the interplay between music and its broader cultural context, Cook’s insights offer a rich analytical perspective that compels you to reflect upon your understanding of what music is.

Arachnophonia: Music and Manipulation

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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 Amy (class of 2025) is a special edition for Banned Books Week and features a book about the ways music is used as a tool for social influence. Thanks, Amy!

Music and Manipulation : On the Social Uses and Social Control of Music
edited by Steven Brown and Ulrik Volgsten

Music and Manipulation

Music and Manipulation, edited by Steven Brown and Ulrik Volgsten, delves into the complex ways in which music is employed as a tool for social influence and control. Through a collection of essays from various scholars, the book explores how music affects human behavior, shapes identities, and is used in contexts of power and manipulation.

The essays in this anthology investigate how music is used both to foster unity and to exert control, depending on the circumstances. For instance, one section of the book delves into the use of music in political propaganda, where governments and regimes leverage music to promote nationalistic sentiments and manipulate public opinion. This can be seen in examples ranging from national anthems to political campaigns, where music serves as a subtle yet powerful force to unite people under a common ideology.

The book also explores music’s role in advertising and commercial contexts, where it is utilized to shape consumer behavior and create emotional connections with products. This type of “manipulation” often goes unnoticed but is incredibly effective in influencing purchasing decisions and brand loyalty.

Another theme covered in Music and Manipulation is the therapeutic use of music. In contrast to the more coercive applications discussed earlier, music therapy is framed as a positive use of music to influence emotions and improve mental health. This section highlights how music can be used to heal and empower individuals, demonstrating its dual capacity for both control and liberation.

Religious and ceremonial uses of music are also examined, revealing how music shapes spiritual experiences and creates a sense of communal identity. In religious contexts, music often serves as a tool for guiding emotions and fostering a sense of unity among believers. The authors also explore how different cultures use music in rituals and ceremonies to reinforce social bonds and cultural values.

The book Music and Manipulation: On the Social Uses and Social Control of Music is available to check out at the Parsons Music Library!

Banned Books Week 2024

Arachnophonia: Velvet Terrorism – Pussy Riot’s Russia

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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 Rocio (class of 2027) and features a book about the activism of the punk feminist collective Pussy Riot. Thanks, Rocio!

Velvet Terrorism – Pussy Riot’s Russia
edited by Maria Alyokhina, et al

Velvet Terrorism: Pussy Riot's Russia

Maria “Masha” Vladimirovna Alyokhina (Russian: Мария Владимировна Алёхина[a]) is a Russian political activist and member of the anti-Putinist punk rock collective Pussy Riot. Alyokhina was born on June 6, 1988 in Moscow, Russia. Her mother works as a programmer and her father is a mathematics professor.

The book Alyokhina co-edited – Velvet Terrorism – Pussy Riot’s Russia – showcases the largest representation of the Pussy Riot artistic collective’s work up to this date. Alyokhina describes Pussy Riot as a way of life and a form of civic responsibility. Their art is their unique way of engaging in activism and she makes it clear to the audience that her goal is to fight against the oppression of Putin’s tyranny.

Alyokhina was arrested several times (August 2012, February 2014, January 2021, and February of 2022) due to “hooliganism motivated by religious hatred,” along with other acts that where treated as crimes due to her activist ideals and opposition to Putin. Because of her continued arrests and oppression she decided to flee Russia, disguising herself as a delivery driver. In exile she tours around Europe to support victims of the 2022 Russian invasion of Ukraine.

The book Velvet Terrorism – Pussy Riot’s Russia chronicles an exhibit about the group curated by the Louisiana Museum of Modern Art in Denmark. It’s worth a look if you’re interested in learning more about the group and its activism.

Arachnophonia: Carmina Burana

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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 Music Library Associate Melanie A. and features a recording of and score for Carl Orff’s secular cantata Carmina Burana.

Carmina Burana by Carl Orff

Carmina Burana score

Carmina Burana is a secular cantata composed in 1936 by German composer Carl Orff (1895-1982).

Orff set 24 medieval texts from a longer manuscript dating to approximately the 12th century CE for his work – which he intended to be both a musical and theatrical piece. Carmina Burana is often performed as a concert work, but it has also become part of the ballet repertoire (productions have been mounted by the Alvin Ailey Dance Theater and Richmond Ballet, among others.

Said manuscript (containing 254 poems) is also known as Carmina Burana. These poems were written by young students/clergy in training known as Goliards, who were known for satirizing the church and society through their poems.

Orff’s Carmina Burana covers a wide variety of topics including the fickleness of fortune and wealth, the ephemeral nature of life, appreciation of spring, the pleasures and perils of drinking, and courtly love. There is even a movement (“Olim lacus colueram“) that is told from the perspective of a swan roasting on a spit over an open fire! (It’s also a metaphor regarding life and perceptions of change, beauty, and freedom.)

Carmina Burana recording - Chicago Symphony Chorus & Orchestra (1985)

I was lucky enough to get to perform Carmina Burana as an undergraduate as part of my university’s choir and became very interested in it, partly because the music is so vital and evocative and partly because I minored in Medieval & Renaissance studies(!), so it resonated on several levels.
As a college student, I also perceived a few parallels between the interests of medieval and contemporary university students. For example, the joys and woes of young love, enjoyment of being outside on a spring day, or the vicissitudes of good vs. bad fortune!

Highlights for me include:

* “O Fortuna” – Starts and ends the cantata and has appeared in all manner of pop culture media from movies to TV to commercials, so you may find you are a bit familiar with it already!

* “In Taberna Quando Sumus” – An ode to the pleasures and perils of drinking, which switches about midway through to an almost musical theater-y style where I picture people swinging frothy pint glasses around.

* “Amor Volat Undique” – A rather gentler piece about love, featuring some nice woodwind lines, a treble choir representing mischievous cupids flitting in and out and a gorgeous soprano solo.

But you don’t have to take my word for it, come to the music library and check out scores, recordings, and more of Carmina Burana and explore it for yourself!

Arachnophonia: Dear Evan Hansen

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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 Marissa (class of 2025) and features the vocal selections score for Dear Evan Hansen. Thanks, Marissa!

Dear Evan Hansen

Dear Evan Hansen

Premiering on Broadway in 2016, Dear Evan Hansen is a musical about Evan Hansen, a high school senior in therapy for social anxiety and depression. As an exercise, his therapist tells him to write a letter to himself about his feelings going into the first day of school. The musical also centers around Connor Murphy, another high school senior battling depression. On the first day of senior year, Evan and Connor bump into each other, and Connor ends up taking Evan’s letter. Later that same day, Connor sadly ends his own life, with Evan’s letter still in his pocket. Connor’s family later reads this letter thinking Evan must have been Connor’s best friend, and Evan goes along with it instead of telling the truth. Through classic songs like “Sincerely, Me” and “You Will Be Found“, Dear Evan Hansen tells the story of just how big a single lie can get, while also raising awareness for teen mental health and suicide.

Benj Pasek, Justin Paul, and Alex Lacamoire are responsible for bringing this world to life through their musical talents. Their music has been heard off and on-Broadway, on tours, and even in a musical movie. If you would like to learn how to sing these coming-of-age pieces through sheet music, you can check this item out now from the Parsons Music Library.

Arachnophonia: The Commodification of Music at the Dawn of the Era of “Mechanical Music”

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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 scholarly essay on the commodification of music. Thanks, Esther!

“The Commodification of Music at the Dawn of the Era of ‘Mechanical Music'” by Timothy D. Taylor (published in a collection called Music in the World and online)

Player Piano illustration

Dr. Timothy D. Taylor’s essay on “The Commodification of Music at the Dawn of the Era of ‘Mechanical Music'” delves into the evolving nature of music commodities and their commercialization influenced by surrounding circumstances. As a respected musicologist specializing in global issues, particularly the interplay between consumerism, technology, and music, Dr. Taylor, a professor at the University of California, Los Angeles Herb Alpert School of Music, demonstrates his expertise throughout this article.

Using player pianos as a case study, Taylor examines, from an ethnomusicological perspective, how the means of reproducing music impact its dissemination. Building on Karl Marx’s concept of commodities, Taylor argues that the success of player pianos as the first commercially mass-produced products can be attributed to effective advertising strategies tailored to the societal norms of the time.

Taylor highlights the democratization of music access and the role of advertising in the reification of music. He observes the historical evolution of marketing tactics from the late 1880s to the early 1930s, a period considered the rise of popular culture, noting certain enduring strategies still relevant today. The ongoing commodification of music adapts to contemporary dynamics, influenced by the rise of artificial intelligence and online platforms. I highly recommend this article to anyone interested in learning about one of the many significant roles music plays in our lives!

Arachnophonia: Ariana Grande “Sweetener”

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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 Marissa (class of 2025) and features Ariana Grande’s 2018 album Sweetener. Thanks, Marissa!

Ariana Grande

Sweetener

Ariana Grande - Sweetener

Ariana Grande‘s fourth studio album Sweetener was released in the summer of 2018. Collaborating with other artists like Pharrell Williams, Nicki Minaj, and Missy Elliott, this album is loved by many different audiences. It won Best Pop Vocal Album of the Year in 2019, giving Grande her first Grammy award.

This pop and R&B styled album includes themes of womanhood, romance, and hope in the face of tragedy and loss. The three singles on the album are “No Tears Left to Cry,” “God Is a Woman,” and “Breathin‘,” each charting on the US Billboard Hot 100.

The last track, “Get Well Soon,” is a tribute to the lives lost at the Manchester Arena bombing during her previous tour. There are 40 seconds of silence at the end of this song to commemorate the 22 victims who passed away, bringing the runtime to 5:22 (the date of the concert).

If you’d like to listen to these songs mentioned and more, you can check this CD out from the Parsons Music Library today. You won’t regret it!

Arachnophonia: Instruments in the History of Western Music

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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.