Arachnophonia: The Holy or the Broken

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 Laeticia (class of 2026) and features a book examining the cultural significance of the Leonard Cohen song “Hallelujah”. Thanks, Laeticia!

The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of “Hallelujah” by Alan Light

“Hallelujah” originates from the Hebrew verb hillel, which translates to “praise Jah(God).” It is a common term among those who grew up in faith, but many of us also relate it to the melodious and anthemic Leonard Cohen song. As a Christian myself, I’ve always cherished the anthemic beauty of the chorus that yielded such a strong spiritual significance, but Alan Light’s The Holy or the Broken has made me see the song in a new light.

Alan Light is a music journalist who has written for major publications like Rolling Stone and The New York Times. He authored several books on music and culture, however, he is most famous for his book The Holy or the Broken which explores the history and impact of Leonard Cohen’s song “Hallelujah”.

Contrary to popular belief, “Hallelujah” is not just about “someone who has seen the light” as the song quotes, but like most of Leonard Cohen’s songs it is a blend of sacred and sensual. The song combines the rollercoaster of emotions humans experience on a daily basis. From being something you “shout out on Sunday in a happy voice to something that happens in a way that is cold, broken, and lonely” says Alan Light.

In The Holy or the Broken Alan Light explores the varying interpretations of Leonard Cohen’s iconic song “Hallelujah,” revealing the depths and contradictions that make it resonate with so many. Light’s exploration opens up a rich tapestry of meanings that extend beyond faith, and provide personal, cultural, and historical contexts that show how “Hallelujah” has evolved in contemporary society — from a hymn of praise to a poignant commentary on love, loss, and longing.

This book not only challenges readers to reconsider their own interpretations but also highlights the song’s impact across diverse musical landscapes. It’s a compelling read for anyone looking to deepen their understanding of this modern classic.

Arachnophonia: 21st Century Musical Theatre – 50 Songs from Shows since 2000

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 insert title info here. Thanks, Marissa!

21st Century Musical Theatre: 50 Songs from Shows since 2000

If you’re interested in learning how to sing and play the piano to your favorite musical theatre songs, look no further than Parsons Music Library. Some of the 50 songs from this collection of musical scores that are my personal favorites include “Santa Fe” from Newsies, “Proud of Your Boy” from Aladdin, and “Dancing Through Life” from Wicked. Newsies the Musical debuted in 2011 at the Paper Mill Playhouse, a theater located 20 minutes away from where I grew up. Most recently, the musical version of The Great Gatsby also made its debut at the Paper Mill Playhouse, featuring the powerhouse-voice of Jeremy Jordan (who has also played Jack in Newsies). If you are a male singer who wants to sound like this iconic performer, you should start with watching him belt his heart out to “Santa Fe” (and then learn it yourself with this score!).

In preparation for the Wicked movie coming out in November, learning “Dancing Through Life” and “Wonderful” from the critically acclaimed Broadway musical Wicked will set you up for success in the movie theater. Both of these songs and many more are available in 21st Century Musical Theatre: 50 Songs from Shows since 2000 at the Parsons Music Library.

Arachnophonia: “Prince – The Last Interview”

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 Griffin (class of 2027) and features a collection of various interviews with Prince. Thanks, Griffin!

Prince: The Last Interview and Other Conversations

Prince: The Last Interview and Other Conversations

Prince: The Last Interview is a collection of interview articles curated to create a comprehensive story using primary sources for insight into the superstar’s psyche. Nobody has had a bigger influence on modern American music than the Minnesotan native, bending the boundaries of genre. Born in 1958 and rising to international fame through the 80s and 90s, Prince’s sound couldn’t be described by any classical music labels of music, mixing elements from jazz, funk, synth-pop, rock, and more. Despite his parents both being musicians, Prince claims they never influenced his musical development. Instead, he was influenced by musicians such as James Brown, Sly and the Family Stone, Jimi Hendrix, and Stevie Wonder.

Introduced by Hanif Abdurraqib and by the interviewee Prince, Prince: The Last Interview and Other Conversations pulls together interviews at different stages of his life that begin to unravel the mysterious persona that was known to have an adverse relationship with the media. The collection gives us a glimpse of the icon from back from an interview in his school’s newspaper where his tremendous talent began to be recognized, through the struggles and freedom from the Warner Bros. Records label, his adaption to the computer age, and even his veganism.

Despite his tragic early death in 2016, Prince’s impact can’t be underestimated. Prince: The Last Interview showcases the artist’s thoughts on identity, freedom, religion, the art industry, sexual expression, forgiveness, and most of all how he continued to evolve his beliefs but not falter from them. If you want to know more about this generational talent who experiments with multiple types of artistic expression, you can check out the book from the Parsons Music Library.

Arachnophonia: Stevie Wonder “Songs in the Key of Life”

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 Lay’la (class of 2025) and features Stevie Wonder’s classic album Songs in the Key of Life. Thanks, Lay’la!

Stevie Wonder

Songs in the Key of Life

Stevie Wonder - Songs in the Key of Life

Looking for a calming, captivating and engaging recess? Stevie Wonder’s Songs in the Key of Life provides this very experience. Released in 1976, this double album is not just a collection of songs; it’s a profound exploration of life, love, and social consciousness that remains salient today.

Songs in the Key of Life is a fascinating blend of genres, seamlessly weaving together soul, R&B, jazz, and pop. From the infectious tunes of “I Wish” to the haunting beauty of “Knocks Me Off My Feet,” each track showcases Wonder’s unparalleled musicianship and vocal prowess. The album opens with “Love’s in Need of Love Today,” a gentle yet powerful reminder of the universal need for compassion and understanding.

Wonder’s experimentation with sound is evident throughout the album. He uses an array of instruments — from harmonicas to synthesizers — that were groundbreaking at the time. Tracks like “Isn’t She Lovely” showcase his ability to craft a beautiful melody that celebrates the joy of fatherhood, while “Pastime Paradise” tackles social issues with a reflective tone, incorporating elements of classical music that add to its richness.

The influence of Songs in the Key of Life extends far beyond its initial release. It has inspired countless artists across genres and remains a staple in music education. The album’s themes of love and social justice continue to resonate, making it a timeless piece that encourages listeners to reflect on their own lives and the world around them.

You can listen to Stevie Wonder’s Songs in the Key of Life on CD at the Parsons Music Library!

Arachnophonia: Arcade Fire – “The Suburbs”

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 Georgia (class of 2025) and features Arcade Fire’s 2010 album The Suburbs. Thanks, Georgia!

Arcade Fire
The Suburbs

Arcade Fire - The Suburbs

Canadian Band Arcade Fire’s The Suburbs is an indie rock, baroque pop exploration of suburban life in modern America. The album is inspired by the singer’s upbringing in The Woodlands, Texas, a suburb of Houston that I visit regularly to see my aunts, uncles, cousins, and grandparents. The town is filled with tall trees and smooth concrete, and every retail chain and restaurant you can name. I remember 110 degree summer days spent indoors, malls and movie theaters, pools and Tex-Mex, long drives and drive-thrus.

It is both a sense of placeless-ness and nostalgia that define this album, especially in the reflection on and mourning of the city or town you once knew as a child. Going from a placeless neighborhood to a faceless job, wanting children in a world abusing itself into extinction, mourning time wasted, these are all explored in this album that I believe connects to what it often feels like to be an American today.

Many things lately feel off, almost fake. We buy things manufactured from far-away places, our homes, communities, and jobs are long drives apart, neighborhoods are being rebuilt to look the same as everywhere else. Presidents are celebrities, health care is sold by greedy corporations, recession is approaching, and yet we are being fed facts mistold and fears misplaced. It sometimes feels like we’re living in the shadows of all that’s been built here. What does it mean to be an American right now? How do our communities reflect the world we live in? Where do we truly live? Where are we from?

First they built the road, then they built the town, That’s why we’re still driving round and round

Arachnophonia: “Is Jazz Dead?”

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 insert title info here. Thanks, Esther!

Is Jazz Dead?: (Or Has It Moved to a New Address) by Stuart Nicholson

Is Jazz Dead?  by Stuart Nicholson

Stuart Nicholson’s Is Jazz Dead? delves into the state of jazz in America, especially jazz moving into the 21st century. Nicholson, who is a prominent author of books on figures in jazz, like Billie Holiday and Ella Fitzgerald, comments on how jazz has been evolving – or, in his argument, not evolving. He argues that American jazz has been leaning more towards old-school styles while experimental styles seem to be fading away. Nicholson suggests that jazz has the potential to be revived with modern electronic music, which may introduce new creativity into the genre.

As I read through Nicholson’s book, I thought his critique felt relevant, as he points out that the increasingly conservative nature of American jazz may be due to how recent music education focuses on preserving traditional styles rather than encouraging innovation. Nicholson also notes that European jazz scenes, which have more support from the public, tend to be more vibrant and diverse environments.

I recently got to see jazz up close for the first time at a concert by the David Esleck Trio at our very own Camp Concert Hall. The experience was a great introduction to jazz, as it was relaxed but engaging, which also felt like a counterpoint to Nicholson’s concerns about the genre’s lack of progression (but this is also coming from someone who knows nothing about jazz)!
The trio’s performance was lively, once more reminding me of how fun it is to participate in live performances that we have on campus!

For anyone looking to dive deeper into exploring different music genres, our university’s concerts are a great chance to do so! It’s often free for students, though it’s best to grab tickets early, but tickets are available at the box office during their hours. Nicholson’s book, combined with the Esleck trio’s live performance, personally offered me a rich view of the ongoing dialogue between jazz’s traditional roots and its potential for innovation!

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

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

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

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

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