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 started working on Chopin’s G Minor Ballade last December, and it was the piece with the heaviest emotions I have ever studied before. By chance, I read several sections of this book, a collection of Chopin’s letters, and the texts have such a strong power that I was immersed in the intensity and great sorrow reading through the lines.
Here is what Chopin recorded in his Stuttgart diary in this book when the Battle of Warsaw took place in September 1831: “Sometimes I can only groan, and suffer, and pour out my despair at the piano! … Is a corpse any worse than I? … A corpse is as colorless as I, as cold, as I am cold to everything now” (Chopin, 149).
When studying a new piece, I found it extremely helpful to better interpret the narrative and emotions behind the composition by reading different versions of the score and the composer’s diary or other written documents. The book Chopin’s Letters will give you a brand-new insight into this patriotic composer if you love his music! The call number is ML410.C54 A4 1988.
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.
Taylor Swift, one of the biggest artists of the century, has amassed a cult-like following since her self titled debut album. She’s since released 9 additional studio albums and 2 re-recorded albums, all seemingly more successful than the last. Speak Now, her third studio album released in 2010, remains my favorite to date. Let me tell you why.
When determining my personal album rankings, I consider two factors: general cohesiveness and amount of “skips.”
In terms of cohesiveness, Speak Now exceeds expectations. Taylor describes it as a loose concept album regarding the things she never got a chance to tell people throughout her life. She calls the songs diary entries, using them to navigate her newfound adulthood. Speak Now perfectly encapsulates all the emotions of a 20-year-old dealing with love, heartbreak, and regret. Every song tunes into those emotions in a slightly different way, creating a wholly relatable album.
Even more importantly, this is a no-skips album. Each song serves a beautiful purpose in connecting the whole, but also has the ability to stand alone. Of course, this isn’t to say I don’t have favorites. “Back to December“, “Mine“, “Better than Revenge“, and “Last Kiss” certainly top my list. Still, even my least favorite songs on this album are always worth a listen.
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 early 2010s gave rise to a multitude of alternative-rock bands: Panic! at the Disco, Fall Out Boy, and Cage the Elephant, just to name a few. I, like most other middle/high schoolers at the time, was obsessed with these bands. Twenty One Pilots was no exception. The duo from Columbus, Ohio, exploded into the alternative-rock scene with their 2015 album, Blurryface. Their songs “Stressed Out”, “Tear in My Heart”, and “Ride” were all hits, with “Ride” making the top 5 on The US Billboard 100. The band went on to win the 2017 Grammy for Best Pop Duo/Group Performance. Bandmates Tyler Joseph and Joshua Dun accepted the award without their pants, as a tribute to the way they were watching the Grammys a few years prior to their breakout.
In his speech, Joseph concluded that “anyone from anywhere can do anything,” which aligns with the overarching message they convey through their music and performances. The duo often sings of mental hardships and social constructs, but have always weaved a positive narrative into their music. Their two most recent albums, Trench (2018) and Scaled and Icy (2021), have intricate story lines that show how perseverance can outstand even the toughest circumstances. Each song plays a different role and serves as a world-building tool. “Dema” is a fictional land that is guarded by several bishops, each representing an inner demon or fear. Throughout several videos, Joesph and Dun befriend the weird creatures and strange rebels in order to escape. These are just a few examples of how Twenty One Pilots uses creative techniques to express raw and difficult emotions and experiences.
Although I didn’t understand how relatable these lyrics were at the time, my 8th grade-self fell in love with the intricate bass lines and vibrant drum solos. Since then, my fondness for this band has grown exponentially. While some have outgrown the duo, I have continued to follow their musical journey. Twenty One Pilots is currently on their third world tour and came to the DMV last month. I’ve seen three of their shows over the past six years and have yet to be disappointed. Their stage presence and interaction with the fan base is incredible and truly a unique experience.
If you’re ready to start an emotional roadshow, come check out Blurryface and other related CDs in Parsons Music Library!
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.
People might argue that it’s hard to understand ballet, but the stunning production of The Nutcracker by The Royal Ballet available on DVD in the Music Library will provide the audience with a different and impressive experience. The story behind the dancing scene evokes the inner feeling of everyone, and the music from Tchaikovsky endows dramatic, mysterious, and dreamy colors to the performance.
This recording from a performance in 1968 was performed by Merle Park, who was known for the brilliance of execution and virtuoso technique. The stage arrangement and design are relatively simple than in present days; however, the costumes and performers’ techniques were outstanding. My favorite part has always been the second act, where integration of international dance performance takes place: Spanish dancers represent chocolate, Arabian dancers are coffee, Chinese dancers are tea, while Russian dancers represent sugar canes.
As Christmas is approaching, check this DVD out in the Parsons Music Library! You can borrow a DVD drive from the front desk or use the equipment in the study rooms to watch the entire performance!
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 performing my duties as music library student assistant, I discovered a thin workbook titled Modern Method for Tympani. I come across hundreds of books, scores, and instruction manuals in my job, but it was the name of the author of the workbook that caught my attention: Saul Goodman, the namesake of one my favorite TV shows, Better Call Saul.
Further research showed Saul Goodman (the percussionist & author of Modern Method for Tympani) has a fascinating history. Born in Brooklyn in 1907, by the time he was 20, Goodman was the principal timpanist of the New York Philharmonic. He played with this premier orchestra for 46 years and taught at Juilliard, the premier U.S. music school, for 41 years.
Goodman was instrumental in innovating the timpani, introducing both new techniques and inventions such as replaceable-ball timpani sticks and chain-tuned timpanis. He also remains one of the most renowned and influential percussion teachers in history. To add to his long list of accolades, Goodman played the first performance of a timpani concert to be broadcast on air. When he died in 1996, the New York Times credited him with over 6,000 concerts and a place as the longest-held principal Philharmonic position in history. If you would like to try to follow in Saul Goodman’s steps, take a look at Modern Method for Tympani, found at library call number MT660.2. G6, or ask a Music Library student assistant for help.
The Māori are the indigenous people of New Zealand. Their folk music traditions are often integrated with poetry and dance. Here’s a brief overview of Māori music culture past and present:
Taonga pūoro
This picture displays several traditional Maori instruments belonging to master practitioner, Horomona Horo. The instruments are from bone, wood ,shell and gourd. Source: https://en.wikipedia.org/wiki/Taonga_p%C5%ABoro
Taonga pūoro are the traditional musical instruments of the Māori and consist of a variety of blown, struck and twirled instruments made from hollowed-out wood, stone, whale ivory, and bone.
The sounds of the instruments were intended to mimic the sounds of the natural environment such as insects, birds, water, trees and wind and were connected with religious practice. According to Wikipedia, the Māori viewed music related to their creation story where “The Gods sang the Universe into Existence.”
Here is a short video on taonga pūoro featuring Māori instrumentalist Richard Nunns:
Today, taonga pūoro are most frequently used at Māori ceremonies and also by New Zealand composers, such as Gillian Whitehead.
***
Haka
The Te Aka Māori Dictionary defines haka as a general term for “vigorous dances with actions and rhythmically shouted words” and/or the performance of these dances. Haka are sometimes described as challenges. They are used to make a point, honor someone/something, tell a story or express an emotion. They are performed by both men and women.
Kapa haka is a term for Māori action songs like haka and groups that perform them.
Here is a short video on kapa haka produced by NPR:
And here are a few song styles performed by kapa haka groups: Waiata are songs are sung solo or in unison, usually lullabies, love songs or laments. Waiata is also a Māori verb which means “to sing.”
Poi are (usually) women’s dances involving the swinging of balls, about the size of tennis balls, attached to cords and its accompanying music.
A karanga is a formal, ceremonial call and response at the start of a pōwhiri (welcome ceremony). Karanga are carried out almost exclusively by women and in the Māori language.
*** Contemporary Māori Music
Māori musical heritage continues to have an impact on New Zealand music and culture. Western instruments like guitars are frequently employed with traditional instruments today and indigenous sounds are melded with many different styles of music such as pop, jazz, classical and hip hop. Māori traditional instruments are sometimes used by contemporary composers, musicians and artists.
Here are a couple of fun video examples of Māori music melding with western forms for your enjoyment:
* “Poi E” by Pātea Māori Club was a NZ hit single in 1984 and is still beloved today. (Note that poi as described above are featured in the video!):
* Here is a classical piece featuring taonga pūoro written by contemporary Māori composer Gillian Whitehead:
* And for contrast, here is a thrash metal song released in 2019 by the group Alien Weaponry:
***
Here are some items from our collection that will give you more information on Māori 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.
Known for his phenomenal Broadway show Rent, Jonathan Larson was a musical genius of the 80s and 90s. Recently popularized by Netflix in the film tick, tick… BOOM! starring Andrew Garfield, this musical tells the tale of Jonathan Larson’s trials and tribulations as an almost 30-year-old musical writer in New York City (before the creation of Rent). Although Larson sadly passed away before he could see Rent’s Broadway debut, his impact on the world of music will never be forgotten.
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.
Erik Satie (1866-1925) was a French composer whose spare, unconventional, often witty style influenced 20th-century music greatly, particularly in France. Satie’s music represents the first definite break with 19th-century French Romanticism. Closely allied to the Dadaist and Surrealist movements in art, it refuses to become involved with grandiose sentiment or transcendent significance, disregards traditional forms and tonal structures, and characteristically takes the form of parody, with flippant titles, such as Trois morceaux en forme de poire (1903; Three Pieces in the Shape of a Pear) and Embryons Desséchés (1913; Desiccated Embryos), and directions to the player such as “with much illness” or “light as an egg.” Satie was often dismissed as a charlatan by musicians who misunderstood his irreverence and wit.
One of Satie’s most known works are the Trois Gymnopédies (1888). Gymnopédie No.1 (You can listen to it here), for example, is a work of music not too complicated. Regardless, I have always found it to influence me like no other piece. Sometimes, it sets the mood to be quite melancholic while also, in my opinion, sprinkling a vast amount of joy by the end. Other times it could lay a feeling of calmness on the listener, like a break from a hard day at work or a breeze on a hot summer afternoon.
You can check out this book (among others) in the Parsons Music Library if you’d like to learn more about Erik Satie and his work.
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 question that typically comes up every time and again – a question that I find disrespectful to everyone but one, and yet worthy of the highest praise for that one in question – is one that is hotly debated. I have seen friendships one word away from disaster over the lunch table regarding this one question. I have witnessed other’s whole argument lose its pull as soon as someone had a worthy counterargument. I have seen people argue over the topic on Twitter and Instagram as if their opinion was slated in fact. I have seen people get so emotionally invested in this question that their face begins to get red, their eyes stand on the verge of tears, and every single vein in their body is one more second away from exploding. That question – the one I hate – is who is the best musical group ever?
Where does this question even get its basis from? Are we saying some genres are better than others?
Are we saying we can compare every single artist together despite no two artists being the same – with different vocals, different instruments, different cultures, different pacing, different everything? I get humans have the natural inclination to tier and rank – competition drives the world. But honestly, to me, this is an unanswerable and impossible question. Yea, we may be able to rank albums off charting positions and sales numbers. And then logically, we can say the artist that has the most cumulative sales across their whole discography is the best. That is a LOGICAL WAY to determine it. It still blows for literally every other artist other than number one – BUT – that one artist lives enshrined as the best for forever. And yet, despite me not liking that way to derive who is the “best”, it is logical. But, also, on top of the fact that humans have the natural inclination to tier and rank, humans are not the most intelligent. And instead of deciding who is the best logically, we let emotions, opinions, and our own experiences decide for us! As if it is not obvious enough, that is a one-way ticket to disaster. It brings up some pretty interesting debate, however but humans are also stubborn, and we can only imagine that nothing will ever be accomplished.
For those reasons, and just the idea that music should be appreciated for the piece of art it is and its individuality, not ranked against others because Jeff likes drums more than strings, I think that question is pretty lame.
However, I am going to explain a little bit about one album from one group that typically scores high on America’s meaningless “tier list.” Even better, I so happen to love this band, although they are not one of my everyday listens. But, since they have some of the most gripping and innovative music of the 1960s, I thought it would be a worthy choice to write about. And, even funnier, it leads into an interesting contradiction to say that I agree with the world in this case. I do not know if that now pigeonholes me into the broader term of being “basic,” but in this case, I will put aside that argument and agree with the world.
This leads me to this point: If I were to rank all bands, and put my differences aside with that impossible question, I would put the Beatles up at the very top – maybe not one, but top twenty. More specifically, if we were to rank albums, Abbey Road would be even higher.
To begin, Abbey Road is the 11th studio album of the Beatles, their second to last studio album and 11th in just over six years. The group itself is composed of Paul McCartney, John Lennon, George Harrison, and Ringo Starr, although Ringo was not one of the original members of the band (he replaced Pete Best in 1962). Together, the Beatles shot to worldwide prominence outside of their home country of the UK and more specifically their hometown of Liverpool. Their rise to American prominence began in the early 60s as many British bands were beginning to come to America in what was known as the “British Invasion.” If were to use the LOGICAL approach, the Beatles would be the most popular band of all time, selling 183,000,000 albums throughout their history. The album itself was a bit of a distance from some of the previous albums – they almost reverted back to their beginnings. The album did not contain many psychedelic hits as the majority of their later albums did. However, despite this, the band recorded the album at their breaking point; this was the last album that was released when they were all together, as John Lennon had made his exit from the brand prior to commercial release.
The album, in my opinion, demonstrates complete duality. Although the music is praised for being one of their best, with hit after hit, the band’s health, and the health of each of the members were deteriorating behind the scenes. The members were all annoyed with each other and George Martin played saving grace, trying to get the project to the world and to completion, whilst attempting to reduce the trouble brewing between the members. The wear and tear of fame, constant studio work, and trying to deal with it all took a toll on the Beatles by 1969, which caused a lot of the issues. They had faced adversity, as the band would experiment with cocaine, LSD, and marijuana in the mid to late 60s, followed by a crippling heroin addiction by three of the members. Behind the scenes, the Beatles were at their lowest and were struggling in their personal lives. It is still amazing that despite all the negatives, they somehow put their troubles, their conflicts, and their egos aside and created one of the most iconic songs of all time.
Some of my personal favorites off the album, are “Something,” “Here Comes the Sun,” “Oh Darling”, and “Because.” A large portion of the songs that I like most (in this case “Something” and “Here Comes the Sun”) were written by George Harrison. You could almost immediately tell when Harrison was the writer, with a distinct sound. In the case of Abbey Road, his songs were more melodic and slower, a slight diversion from the rock-infused roots that rose the band to prominence. They make for some of the most beautiful songs in their entire discography, but slightly behind my all-time favorite song from them – “While My Guitar Gently Weeps.” In my opinion, that song, with Eric Clapton playing the guitar in the background is the greatest Beatles song. The slower and melodic piece, with the guitar sounding almost as if it really was crying is nothing short of a masterpiece. And so, I consider myself biased in response to my favorites – George’s style and influence was something that resonates with me. That is yet another reason why I dislike ranking. Because in this case, my opinions, and biases seep through heavily.
Finally, as for the most influential and iconic portion of the piece, the Abbey Road album cover has become one the most definitive images of the band. Although an album cover that was very simplistic in nature, the image holds a variety of meaning and captures the Beatles’ spirit and careers all in one image. The image itself features all four Beatles walking along a crosswalk on Abbey Road, which is a street in London where EMI studios, the recording studio of the Beatles was housed. From left to right, there is George Harrison, in a jean shirt, jeans, white boots, long hair and a beard. This encompasses their later years, in which most of the members began to grow their hair out amidst the war years and counter-culture movement. To his right is Paul McCartney in a blueish-grey suit, a cigarette in hand, and a shorter hairstyle that is reminiscent from their pre-fame days. Afterward is Ringo Starr, dressed in a black suit. Finally, John Lennon finishes the image, with his long hair and all white appearance. Although not traditionally associated with the image, John being last in line wearing all white to me symbolizes heaven and the idea that the band is nearing their end. They are looking to the light and waiting for their come to end. The final piece of the album cover that many do not know is that the photographer only took six images of them. The Beatles walked down back and forth along the street three times. This cover image was the fifth image taken, and they were walking away from the studio. If we were to blow up the image, EMI would be on the left. This also foreshadows their immediate exit, as them walking away from EMI hints at their careers together ending.
Image 3 (of 6) from the Abbey Road album cover shoot. Photo: Iain MacMillan
The everlasting impact of the band and this album is one that will live on forever in the minds and hearts of all music lovers. It is so popular to this date, that in 2019, 246,000 vinyl copies were sold. This comes over fifty years after its initial release. And so, to close, despite saying in the beginning of this piece that I hate rankings and considering a band to be the “best,” if I ever had the chance to make my opinion fact and that that becomes the standard everyone will have to adhere by – I would place Abbey Road in the top 15 albums of all time.
If you are so inclined to relisten to this masterpiece, or grace your ears for the first time, you can check out a copy of Abbey Road at Parsons Music Library today.
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.
Peer Gynt tells the story of a man, Peer, who is in love with a girl he is not allowed to marry. After leaving home, he ends up in the hall of the Mountain King after being captured by trolls. The King of the Trolls upsets him when he refuses to marry the King’s daughter and become a troll. In the end, Peer barely makes it out by running away from the trolls. The piece “In the Hall of the Mountain King” plays when Peer insults the king, and the trolls start to chase him as he runs away.
The drama was written by Henrik Ibsen, who originally did not want the show to ever be performed. However, 7 years later, Ibsen changed his mind and asked Edvard Grieg to write the music for the production. The show premiered on February 24, 1876, in Mollergaden Theatre, Christiania, which is now Oslo, Norway. Grieg re-orchestrated the music before productions in Copenhagen, Denmark. During a revival of the show in 1902, he added new pieces to the show. The score was finally published a year after Grieg died, in 1908.
The piece starts out slow with quiet notes to simulate the quiet footsteps of Peer as he tries and sneaks away from the Troll King. The music grows louder as the trolls slowly get closer to Peer. The music swells as Peter starts running and fighting off the trolls, trying to get away.
