Tag Archives: music criticism

Arachnophonia: The Holy or the Broken

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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 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: Drawn to Sound

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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 Isaac (class of 2025) and features a collection of essays about music in animated films. Thanks, Isaac!

Drawn to Sound: Animation Film Music and Sonicity edited by Rebecca Coyle

Drawn To Sound book cover

Animation as a medium is something that has always intrigued me. Inherently having limits differing from traditional film, animation’s visual spectacle sees itself as a source of disagreement. On one end, you have supporters celebrating the composition of the visuals, but on the other, critics viewing it as a commodification of drawing, reserved for children. Regardless of viewpoint, however, is the music in works of animation. Masters of animation music use the medium in conjunction with what is on the screen for an expressive statement.

This book piques my interest for its breakdown of the works of these very artists, auteurs like Hisaishi have created works so fitting they have become indelible from what is on the screen. Sublimity is unequivocally achieved because of these scores, I often reflect most heavily on the sounds I heard from an animated feature, extending beyond even the most dogmatic of views on what a film “should be”. Editor Rebecca Coyle’s shared admiration for the often-ignored musical elements of these songs is something I was delighted to discover, as the focus of animated films are naturally on the animation itself. But this doesn’t mean music in animation should be marginalized, making this book all the more interesting as it is devoted to animation music. Stylistically, music drive themes in film more subtly than dialogue or visuals–– saturating the viewer in a soundscape is a pivotal role–– and throughout my life, recognizing the importance for these composers made any film an enriching watching (and listening) experience.

Arachnophonia: “Hans Zimmer & James Newton Howard’s The Dark Knight: A Film Score Guide”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about items in 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 Music Library student worker, Abby (class of 2021) and features an analysis of the score from the 2008 film The Dark Knight. Thanks, Abby!

Han Zimmer and James Newton Howard’s The Dark Knight : A Film Score Guide by Vasco Hexel

Are you a fan of Batman? Do you love learning about how movie soundtracks impact movies, even having the power to completely change emotion and perception? Or maybe you’re taking a music theory class and want to read something that won’t put you to sleep on the first page? Then this, my friend, is the book for you: Hans Zimmer and James Newton Howard’s The Dark Knight: A Film Score Guide by Vasco Hexel. It’s a long title but hear me out. This book tracks Zimmer’s process in the making of The Dark Night film score, as the name suggests. But not only that, it provides in depth analysis of the characters Batman and the Joker, describing how the music was designed to reflect the psychology of each character.

For mega-fans and theorists, it’s a musical, analytical wonderland. And for those who need help in figuring out how to make a Grammy award-winning soundtrack, or who just need a break from Beethoven, this is the place to start!