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.
While studying abroad, I was lucky enough to be able to attend a concert from the Staatskapelle Dresden, one of the world’s finest and most historic orchestras. Founded in 1548 by the Duke of Saxony, the Staatskapelle is now celebrating its 475th anniversary. The Staatskapelle plays in the famed Semperoper opera house, first built in 1841 in Baroque and Neo-Renaissance styles. Numerous composers have been linked with the orchestra throughout the years (most notably Strauss and Wagner), and the orchestra has held countless world premieres.
In 2009, the orchestra announced that Christian Thielemann would take on the role of chief conductor, a position he still holds. Thielemann, winner of the Richard Wagner Award and recipient of the Order of Merit of the Federal Republic of Germany, is renowned for his balance between technical precision and expressive interpretation. Under his leadership, the orchestra continues to shape classical music and fascinate its audiences.
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.
When analyzing each of the Beatles independently, their lives, and their careers, I often always associate each of the members with each other. I find comfort in coming back to their time as the Beatles. I rarely step out of the Beatles discography and engage with the solo art of each of the four. If you are an avid music listener, this is where you can place your condemnation upon me. Because, I must admit, I have missed out on a lot of music by these four. All four Beatles had taken solo careers and were highly successful. Although I knew this to be true, I still could not bring myself to actually listen. I have no doubt heard some of the famous songs written by one of the four, but never chose to immerse myself in their entire discography.
It was only very recently that I had heard a song by Paul McCartney in his solo career that I had never heard that made me want to scour the internet and find as much as I could about these four men and the masterpieces they put together outside of their time with the Beatles. Stylistically, I assumed a lot of their music would end up being similar to the songs they released while together. Going back to my original thought, that song was “Live and Let Die” by Paul and his band Wings, made to be the theme in the James Bond film of the same name. I had heard the song at 5:00 am over spring break on the radio, waiting in the car for my Amtrak to arrive and take me back to the University of Richmond. And afterward, instead of playing the next song, there was a bit of a discussion by the radio DJ about the song. Usually, I am not a fan of these, which is why I typically just connect my Spotify account and play accordingly, but, I am glad I listened. In it, the DJ said that McCartney needed only 15 minutes to come up with the main structure of the song. That absolutely blew me away. If McCartney can create one of the most iconic movie songs in the history of cinematic production in just fifteen minutes, then I could only imagine how many other songs he had the potential to release.
McCartney was fun and I had my short fix on his music with Wings, but I really wanted to then see the works of George Harrison, whose music constantly became underappreciated and one-upped by Paul and John during their tenure with the Beatles. I knew he must have had a lot of pent up music that he wanted to have released with the Beatles that was passed up on. This music surely had to be released during his solo career.
And, if I am being completely honest, although I believed this, I never actually listened to any of his albums. The only non-Beatles engagement I had with him was “Got My Mind Set On You” from his album Cloud Nine, and the songs that were released by The Traveling Wilburys. The Traveling Wilburys are a fascinating story, and probably worthy to have their own post another day. So, I decided randomly that I would pick an album that was earlier in his solo career. The winner was All Things Must Pass, George’s first album after the breakup of the Beatles.
All Things Must Pass, released in 1970, was unapologetically George. As mentioned earlier, a lot of George’s music was not really put into Beatles works and the other members were not 100% sold on his abilities as a writer. His role was ultimately to play the guitar and act as backup vocals. Years of beautiful work were ultimately kept to himself, as he was not going to release these songs alone while in the studio with the Beatles. I for one actually like George’s songs the most. And so, his style and his writing were way more pleasing to my ears than the other songs of the quartet.
The album is a long one, so I will recommend to be ready. It has a run time of 106 minutes long (1 hour and 46 minutes), and features six sides that were later transformed into two discs. One of the more interesting artists that joined forces with George on the album was Eric Clapton. The relationship between the two has generated some extremely powerful and good music. One of my favorite Beatles songs, “While My Guitar Gently Weeps,” features Eric Clapton’s guitar prominently, creating an elegant sound that creates a weeping noise.
All in all, I do not want to spoil much of the beauty that comes through in this album, and I would advise having a listen. If you want a physical CD copy, come to the Parsons Music Library on the third floor of the Modlin Center (second floor of Booker Hall) and check it out today.
George Harrison photographed at Friar Park, 1970 – poster insert for original release of All Things Must Pass
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.
In Sound Play, William Cheng dives into the nature of players’ engagements with the audio of video games, from horror to fantasy and more. Cheng explores how the virtual world of video games allows sound designers to play with sound and music in ways that would otherwise not be possible in the real world, and how our interactions with these sounds (in the virtual world) can teach us about ourselves and what we value in the “real” world.
I find this book to be an extremely interesting exploration of a fast growing field of research in musicology. Ludomusicology, or the study of sound in video games, has become a rich field of study as video games become more and more integrated into our lives and the world around us. Cheng wonderfully adds to this body of work by exploring how our own interactions within a virtual world and the choices we make shape us into the people we are in our everyday lives.
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.
Summary:
I find this book called Music in Film captivating and quite thought-provoking. The author acknowledges the rich history of music in cinema, from the early days of devices like the praxinoscope and kinetoscope to the diverse range of musical styles and genres that have been integrated into films. It raises questions about the purpose of music in cinema and the complex relationship between music and film. The author also expresses a desire to provide a comprehensive overview of this subject while avoiding oversimplification.
Why I Like This Book so Far:
As a music & film student, I find this book intriguing for several reasons. Firstly, it recognizes the vast history of music in cinema, going beyond the conventional notion of “the cinema” and acknowledging the diverse influences and traditions that have shaped the use of music in films. This inclusive approach aligns with my own belief in the importance of understanding the diverse cultural and artistic contexts of music in cinema.
Secondly, the book raises thought-provoking questions about the purpose of music in films, such as why music is used to accompany moving images and spoken dialogue, and how it can impact the emotional experience of the audience. These questions resonate with my own curiosity and desire to explore the multifaceted relationship between music and film.
Thirdly, the author’s intention to provide a comprehensive overview of significant examples of music in cinema, while acknowledging the limitations of exhaustive detail, is appealing to me as a student. The book offers a balanced and comprehensive approach to studying the subject, without oversimplifying or favoring certain films over others.
The author finds it difficult to view history solely through the lens of winners and losers, or to solely praise masterpieces while disregarding other works. As a result, unlike some current and past writing on the subject, particularly in France, this book may be perceived as indulgent towards a wide range of films and recent aesthetic trends, which may come across as guilty to some. The author’s aim is to inform readers and engage in thoughtful reflection, without resorting to oversimplification. This doesn’t mean that all films are liked, but I do believe that each film deserves recognition for its artistic ambitions, including the intent to entertain.
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 Op.23 Ballade is undoubtedly one of Frederic Chopin’s most representative works, and it was created between 1831 and 1835, during Chopin’s first few years in Paris. Completed in 1835 and published a year later it was followed by three more in this new genre: Op.38 Ballade in F Major, Op.47 Ballade in A-Flat Major, and Op.52 Ballade in F minor, published in succession till 1842. Discussion of the genre “ballade” is inevitable. It has been said that Chopin created a new genre in applying the titles of these pieces, at least for his own purposes.
According to Edward Hirsch, the English “ballad” represents a narrative song, a poem that tells and preserves a story orally. There are several vital features Hirsh mentions regarding the ballad that are relevant to the interpretation of Op.23 Ballade’s structure: an abrupt introduction, an emotionally intense refrain and overall a voice of an individual representing the community. In composing the Op.23 Ballade, Chopin was influenced by personal turbulence in midst of a turbulent social environment; thus, he expressed inner struggle and nostalgia, which, at the same time, also represented other Polish emigres’ grief and indignation and his own homesickness for the old country.
As Robert Schumann wrote in 1836: “It seems to me to be the work closest to his genius (though not the most brilliant). I even told him that it is my favorite of all of all his works. After a long, reflective pause he told me emphatically: ‘I am glad, because I too like it the best, it is my dearest work’”. The g minor ballade is unique being the representative of the public voice during the 1830s and the epitome of that specific era; meanwhile, it can still appeal to the audience’s sympathy and inspire imagination when performing in the 21st century.
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.
I’ve recently been fascinated with classical South Asian dance after watching a few of my Bollywood Jhatkas teammates perform during our most recent show.
Kathak is a type of Northern Indian dance and is one of the eight classical dance forms in India. The movements are heavily rooted in storytelling, hence the graceful arm and hand movements. Nomads took these stories outside of the Hindu temples and began integrating more expression into the art form, as well as more intricate footwork. There are three forms of Kathak, each focusing on different aspects of the dance. Traditionally, small bells are tied to the dancer’s ankles to enunciate the footwork.
Bells of Change: Kathak Dance, Women, and Modernity in India, written by Pallabi Chakravorty, is a critical study of this ancient dance form and its impact on women in India. Much like food, I find dance to be a way to share cultural identity. I love sharing my passion for South Asian dance with my friends and the greater Richmond community. Still, there is so much more to these art forms than what meets the eye. That being said, there are a wide variety of books on Kathak and other dance forms in the Music Library, so be sure to check them out!
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.
As a music library employee, one of our tasks is to ensure that each piece of media and literature is in the correct spot so that patrons can access materials with ease. A few weeks ago, I stumbled across a score for L’Histoire de Babar, Le Petit Éléphant. I recognized the character almost immediately, as I grew up reading the book series and later watching the early 2000s televisionseries in my 2nd grade French class.
Babar originated in France during the 1930s and became a hit in the United States soon after. The story follows a young elephant who is introduced to western society after fleeing hunters. He returns to the elephant realm with modernized ideas and becomes their king shortly after. Babar is accompanied by many friends during his adventures.
This particular score is a piano piece with the narration of Babar’s first story, written in French. It came out long before any TV media was produced, but influenced Babar’s theme song in subsequent years. Babar has certainly influenced a generation through its media presence but has also become a story of the past. You can check out niche items like L’Histoire de Babar, Le Petit Éléphant and other unique materials at the music library (translations may or may not be included).
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!
