Tag Archives: Arachnophonia

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!

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.

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.

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