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: Bob Dylan

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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) and features Bob Dylan’s first studio album (released in 1962). Thanks, Amy!

Bob Dylan

Bob Dylan (1962)

Bob Dylan’s debut album, released in March 1962 by Columbia Records, marks a pivotal moment in the history of folk and popular music. Recorded over two days in November 1961, the album introduces the world to the raw, authentic voice of 20-year-old Dylan. The opening track, “You’re No Good,” immediately showcases Dylan‘s distinctive vocal style and his ability to infuse traditional songs with new life. The album is a compelling blend of folk standards, bluesy interpretations, and a few original compositions, offering a glimpse into the mind of a burgeoning songwriter and storyteller.

Dylan’s command of the acoustic guitar is evident throughout the album, providing a solid foundation for his poetic and often socially conscious lyrics. “Talkin’ New York” is an autobiographical track detailing Dylan’s early experiences and struggles in the Greenwich Village folk scene. “In My Time of Dyin'” reflects Dylan’s fascination with mortality and traditional blues themes, while “Man of Constant Sorrow” highlights his ability to reinterpret folk classics with a fresh perspective.

The album also features Dylan’s take on the traditional ballad “House of the Risin’ Sun,” a rendition that would influence countless musicians. The haunting quality of this track, combined with Dylan’s distinctive vocal delivery, contributes to the enduring appeal of the song. “Song to Woody” pays homage to Woody Guthrie, one of Dylan‘s most significant influences.

In hindsight, Bob Dylan is a captivating snapshot of an artist on the cusp of greatness. While not an immediate commercial success, the album laid the groundwork for Dylan’s subsequent groundbreaking work. Its influence on the folk revival of the 1960s and its enduring impact on subsequent generations of musicians solidify its place as a seminal piece in the folk and rock canon. Bob Dylan captures the essence of a young artist finding his voice, foreshadowing the revolutionary changes he would bring to the world of music in the years to come.

You can listen to Bob Dylan’s first studio album Bob Dylan at Parsons Music Library.

Parsons Playlists: Best of Blaine

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Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Marissa (class of 2025) featuring songs performed by the character Blaine Anderson (Darren Criss) on the Glee TV series.

Best of Blaine

Blaine Anderson (Darren Criss) - Glee

If you’ve ever seen the hit show Glee, you probably remember an amazing solo or two from one of my favorite characters, Blaine Anderson. This playlist has my favorite Blaine songs from the 6-season show. Enjoy!

Glee Cast – “Somewhere Only We Know”

Glee Cast – “What Kind of Fool”

Glee Cast – “Bills, Bills, Bills”

Glee Cast – “Cough Syrup”

Glee Cast – “Teenage Dream”

Glee Cast – “Beauty School Dropout”

Glee Cast – “Hey, Soul Sister”

Glee Cast – “Hopelessly Devoted To You”

Glee Cast – “Raise Your Glass”

Glee Cast – “I’m Not Gonna Teach Your Boyfriend How To Dance With You”

Glee Cast – “When I Get You Alone”

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLEPpzeK8v3s25YnTTxWfcwqkRBea3O09I&si=2dK8rakTS-7h85V3

Arachnophonia: The Phantom of the Opera

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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 Alexandra (class of 2026) and features the 2004 film version of Andrew Lloyd Webber’s The Phantom of the Opera. Thanks, Alex!

The Phantom of the Opera (2004 film)

Phantom of the Opera - 2005 film poster

This is the 2004 film adaptation of Andrew Lloyd Webber’s infamous 1986 musical The Phantom of the Opera, which is considered to be one of the most iconic productions of all time. It is the longest-running show in Broadway history, and second longest in West End history, indicating how well audiences have taken it over the years. The show ended its run in 2020 in London and in 2023 in New York, which has seen many viewers looking to the movie. For those who have not seen the musical, the film is an amazing way to experience the amazing songs and storytelling done by Webber. The movie tells how a woman, Christine, becomes the obsession of a disfigured man, the Phantom, who lives below the Paris Opera House.

One of my favorite things about the movie is the amount of involvement Andrew Lloyd Webber had with the entire process of production as well as the selection of the actors. It allowed his vision to match that of the vision of the musical, giving the movie the right feel. For those who have seen the musical, it is a great watch since it has so many similarities while also having elements not possible in a musical. For those who have not seen the musical, the movie version is a great introduction to the greatness of the musical and can make the plot a bit easier to comprehend on the first watch.

WDCE Charts 4-10-24

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WDCE 90.1 Logo

WDCE 90.1: UR Radio is the voice of independent radio in Richmond, VA and has been student-run and operated since 1960.
Students have used it as a launching pad for careers in radio or other mass communications, and also as an engaging extra-curricular activity. Community members and UR alumni also continue to play an important role in the station.

We’re sharing chart information from WDCE as reported to the North American College and Community (NACC) Radio Chart.

Here’s the WDCE Top 30 from April 10, 2024 (click the image to see a larger version):

WDCE 4-10-24

For comparison, here is this week’s national NACC chart (click the image to see a larger version):

NACC 4-10-24

You can stream WDCE live here: https://live365.com/station/WDCE-90-1-FM-a39711

WDCE 4-10-24

Arachnophonia: Barry Manilow

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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 Eli (class of 2024) and features a vinyl LP of Barry Manilow hits. Thanks, Eli!

Barry Manilow

Barry Manilow - Greatest Hits

While perhaps somewhat unknown among younger generations, Barry Manilow’s music career has spanned seven decades and has produced 51 top 40 singles and 13 platinum albums. He is most known for his hits “Copacabana,” “Mandy,” and “Could it be Magic,” but my far and away favorite Manilow masterpiece is “I Write the Songs.”

Manilow’s soft and sentimental ballad reached the top spot of Billboard charts upon release in 1977. Except, the song is not Barry Manilow’s. Written in 1975 by Beach Boys member Bruce Johnston, the song was first released by teen sensation David Cassidy in 1975. Cassidy’s version peaked at number 11 on the UK singles chart but has been far outshone by Manilow’s recording, which has tens of millions of plays on Spotify today. Manilow originally refused to record his own version of the song, as he felt that the public would not carefully listen to the lyrics and would think Manilow was singing about himself, instead of another, mysterious “I.” Following the massive success of his version, Manilow wrote and released another song called “I Really Do Write the Songs” as a bonus track of his 2006 reissue of This One’s for You.

If you would like to take a listen to Manilow’s version of the song, as well as his other greatest hits, pay a visit to our vinyl LP collection.

i write the songs 2

Arachnophonia: Astor Piazzolla

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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 Xipeng (class of 2024) and features Argentine composer Astor Piazzolla. Thanks, Xipeng!

Astor Piazzolla

Astor Piazzolla (1921-1992)

Born in Argentina in 1921, Astor Piazzolla’s journey in music began at a young age, studying the bandoneón, a type of accordion central to tango music. The composer’s fusion of tango with elements of jazz and classical departs from the conventional Argentine genre. His compositions, also known as “nuevo tango”, presented newfound complexity and depth. This bold experimentation elevated tango from its origins as popular dance music to a sophisticated art form.

Piazzolla’s most famous work is Libertango, which was released in 1974. The piece embodies Piazzolla’s distinctive style, blending both traditional and modern elements to create a composition that transcends cultural boundaries.

Another notable composition by Piazzolla is Adiós Nonino, a deeply personal piece written in memory of his father with sorrow and nostalgia.

Estaciones Porteñas (Four Seasons of Buenos Aires”, written between 1965 and 1970, is also another remarkable work from Piazzolla, reinterpreting Antonio Vivaldi’s renowned classical composition. Through the innovative fusion of classical and tango music, Piazzolla creates a dynamic musical journey that appeals to audiences with its expressive melodies and emotional resonance.

We have the book Le Grand Tango: The Life and Music of Astor Piazzolla, which is a must read for every Piazzolla fan and tango music lover. Feel free to check out CDs and scores and explore the magic of the captivating art form!

Parsons Playlists: Bollywood on the Block – Endgame

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Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Kiran (class of 2024) and features music from the recent Bollywood on the Block performance.

Bollywood on the Block: Endgame

Bollywood on the Block flyer

This year, UR’s Bollywood Jhatkas wrote, choreographed, and performed an original piece for the annual Bollywood on the Block dance show. Here were my favorite songs to dance to!

1. “Dhakkad” by Raftaar and Pritam, Dangal

2. “Balam Pichkari” by Pritam, Yeh Jawaani Hai Deewani

3. “Ghoomar” by Shreya Ghoshal, Padmaavat

4. “Tabaah Ho Gaye” by Pritam and Shreya Goshal, Kalank

5. “Aspara Aali” by Ajay Gogavale, Natarang

6. “Jiya Jale” by Lata Mangeshkar, Dil Se

7. “Dhindora Baja Re” by Pritam, Rocky Aur Rani Kii Prem Kahaani

8. “Chogada” by Darshan Raval, Loveyatri

9. “Mera Wala Dance” by Nakash Aziz, Simmba

10. “Mundiyaan To Bach Ke” by Punjabi MC

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZezQA7u2da-wFaWp0buhyrFJ&si=TWPlIW384iQHKahk

Parsons Playlists: 1990s and 2000s Hip Hop

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Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Deisy (class of 2024) and features some hip hop from the 1990s and 2000s.

1990s and 2000s Hip Hop

Graffiti wall music

Listen to some hip hop from the 90’s and early 2000’s.

Twista (ft. Pharrell Williams) – “Lavish”

Young Money – “Every Girl”

Project Pat – “Choose U”

The Dream – “I Luv Your Girl”

G-Unit (ft. Joe) – “Wanna Get To Know You”

Jay-Z – “Girls, Girls, Girls”

Biggie (ft. Junior M.A.F.I.A.) – “Get Money”

Eve (ft. Gwen Stefani & Stevie J) – “Let Me Blow Ya Mind”

Brandy (ft. Queen Latifah, Yo-Yo & Mc Lyte) – “I Wanna Be Down”

2Pac – “Can U Get Away”

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZezyIVVpOw72W-MBzuUJgAyh&si=Ciugaj1tAn1Z_JI-

Arachnophonia: Spotify Teardown

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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 Eliana (class of 2024) and features a book interrogating the inner workings of Spotify. Thanks, Eliana!

Spotify Teardown by Maria Eriksson, et al

Spotify Teardown

I stumbled upon Spotify Teardown while browsing the shelves at Parsons Music Library and was immediately intrigued; I knew Spotify had a rocky history with independent artists, but this book opened my eyes to the potentially harmful influence and power of the streaming giant. The authors have a generally negative view of Spotify as an entity. While their argument is convincing, it would take a lot for me to give up the ease and accessibility that comes with having a Spotify account. Still, their argument is worth engaging with.

The authors are Swedish social scientists who took a rather controversial approach in their research – they set up a fake record label company in an attempt to peek behind the curtain and see the inner workings of Spotify. Spotify discovered the researchers’ plan and threatened to pull their funding given to them by the Swedish research council, only further fueling the disdain the researchers had for the streaming service. They argue the only way to understand the algorithm is by being on the inside, while Spotify says doing so is in clear violation of their terms of service.

Much of the book discusses the pseudo-record label and subsequent action taken by Spotify, but to me the most interesting reporting was within the discussion of Spotify itself. The authors write about how Spotify is largely represented as the ‘solution’ to illegal streaming, while in actuality its lack of regulation presents more problems for artists and consumers alike than illegal downloads ever did. It also discusses the privacy concerns connected to algorithmic data, data sharing, and data tracking, all of which Spotify engages with and relies on. The authors argue that as AI becomes commonplace within more and more facets of our lives, it becomes increasingly important to regulate its usage. In all, I found Spotify Teardown engaging and certainly learned a lot.