Tag 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: Pierre Boulez

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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(s) 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 a biography of French composer and conductor Pierre Boulez. Thanks, Xipeng!

Pierre Boulez by Dominique Jameaux

Pierre Boulez

Pierre Boulez (1925-2016), born in Montbrison, France, was a composer, conductor, and theorist whose innovative composition revolutionized traditional ideas about contemporary classical music. He studied piano and composition at the Paris Conservatoire, and his early works were influenced by the serialist techniques of Arnold Schoenberg and Anton Webern. However, Boulez quickly developed his own distinctive style of complex rhythms and unconventional harmonies. Several of his groundbreaking works include: “Le Marteau sans maître (The Hammer without a Master)” for chamber ensemble and solo alto voice, “Répons” for soloists, ensemble, and electronics, and “Pli selon pli (Fold by Fold),” a cycle of five songs for soprano and orchestra based on texts by the French poet Stéphane Mallarmé.

Besides being known for his remarkable works of composition, Boulez was also renowned for his precision, clarity, and commitment to the score as a conductor. With traditional practices of classical conducting, he also applied his own modern interpretations. Boulez was known for his adventurous programming, featuring works by contemporary composers alongside more established repertoire. Boulez’s advocacy for new music and his willingness to challenge audiences with innovative and challenging works helped to shape the direction of classical music in the 20th century and beyond.

The book Pierre Boulez by Dominique Jameux in our music library talks about the intellectual and career biography of Pierre Boulez, including detailed discussions of his 12 representative compositions. We also have a concert film In rehearsal Pierre Boulez, which recorded Boulez running through his own compositions with the Vienna Philharmonic Orchestra.

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: Waitress

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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(s) in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Nicole (class of 2024) and features the cast recording and vocal selections score for the musical Waitress. Thanks, Nicole!

Waitress

Waitress CD

Have you checked out Waitress yet? It’s a musical that serves up a slice of life with a side of humor and soulful tunes.

Based on the 2007 film, Waitress became an award-winning Broadway musical with lyrics and music by Sara Bareilles.

The story follows Jenna, a small-town waitress and exceptional pie-maker trapped in a tough situation of domestic abuse. She finds solace in baking and pouring her hopes and dreams into her pies.

The score, by pop singer Sara Bareilles, is a work of art. “Opening Up” and “What Baking Can Do” set the stage, while “She Used to Be Mine” steals the show with its powerful and heart-wrenching arrangement. Over the past few years, the musical has earned multiple accolades, including Tony and Grammy nominations. Another song favorite of mine is “Everything Changes,” which captures pivotal moments in Jenna’s life that eventually lead to her resurfacing power to get through adversity. As the story unfolds, it teaches the audience a lesson about resilience to get through life’s obstacles.

The ensemble members add depth and texture to the story, filling the stage with vibrant personalities. Whether they’re delivering pies, chatting over coffee, or sharing in Jenna’s triumphs and struggles, each member of the ensemble contributes to the vibrancy of the musical’s narrative.

Overall, Waitress serves as a story of resilience and human connection. The musical’s cast recording includes heartfelt performances, humor, and unforgettable melodies.

You can check out the Waitress score and cast recording at the Parsons Music Library!

Arachnophonia: Frozen II

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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 insert title info here. Thanks, Eliana!

Frozen II

Frozen II piano/vocal selections book cover

Is Frozen II (2019) your favorite movie? It should be! While this film has my heart for many reasons, the score is truly what sets it apart from many films of similar caliber.

The piano/vocal selections score, available at Parson’s Music Library, contains all songs from the film. The songs are written by Kristen Anderson-Lopez and Robert Lopez. Fun fact, Kristen Anderson-Lopez grew up in my hometown!

The score includes hits such as “Into the Unknown” and “Show Yourself.” In December of 2019, the soundtrack album reached number one on the US Billboard charts, making it the first soundtrack of an animated film to hit the position since Frozen (2013).

The soundtrack of Frozen II has many of the same elements that the first film had, but with even more depth and nuance. The score’s composer, Christophe Beck, said in an interview that the score matured alongside Anna and Elsa, with new sophisticated musical concepts and themes.

To supplement your listening/playing, I highly recommend watching Into the Unknown: The Making of Frozen II available on Disney+. It’s a 6-part docuseries that dives deep into not only the film’s score, but the cast, animation, and development process. I should warn you, though, it’s a tearjerker!