PROMPT 1

 

1. Looking back at the “bones of summer”, how have you engaged or created art? 

 

At the beginning of quarantine, I found it difficult to be creative. With all my “free time”, it was easier to watch Netflix all day or just stay in bed. However, towards the beginning of summer, I started yearning for any kind of purpose. 

I was part of a jazz combo in highschool for 2 years, and because of quarantine, we were unable to see each other. However, when school ended, we all wanted to be able to play together at least one last time. So, we figured out a way to safely perform! After 2 months of only individual practice, we decided to meet up on my driveway and have a socially distant concert. Some of my neighbo urs brought out lawn chairs and watched from the side of the street. Even though we were a little rusty, for the first time in months I felt like I was truly engaging and creating art, and I felt like my life had purpose again. After that performance, we decided to continue these little driveway gigs. We went to different driveways of my band mates so we could share this art with our friends and family (at a safe distance, of course). It was a great way to feel connected with my friends, as well as with music.

I’ve also started to paint with watercolours recently. One day over the summer I had nothing planned, so I decided to paint a leaf from one of my plants. Now, I really enjoy finding time to paint the things around me. My favourite thing to paint are the sunsets that I see in the evenings when the sky is clear. 

 

2. What things, if any, surround you that you consider powerful?

 

One of the main things many of us are surrounded by is technology. My generation was raised on devices. We were constantly around computers, phones and the internet; it became a part of our everyday lives. Because of this, I believe that sometimes we forget the power it possesses. Technology gives us the ability to share copious amounts of information all around the world. This information can be good or bad, whether it gives us knowledge on a subject that deserves recognition, or feeds false information to the gullible. It holds so much power in persuading and manipulating the human population.

On a lighter note, another thing I consider powerful are the relationships I have with people I surround myself with. The bond I have with my family is truly unconditional love, which I feel is one of the most powerful connections you can have with another human being. No matter what my family and I have been through, I still and will always love them, as they shaped me into the person I am today. This connection is similar to the ones I have with my dearest friends. Though they didn’t raise me, they have influenced and shaped me into a better friend and human being. They allowed me to feel so much love and empathy for others, and that is the most powerful thing I could ever surround myself with. 

 

3. Over the next couple of days, take note of the dominant sounds in areas that you consistently walk. What are the sounds you notice most of all? Be specific. 

 

I am currently living on residence, so I walk almost the same path everyday; to and from the dining hall. On this daily walk, I tend to notice the same sounds. At the start, I hear the construction that’s happening right outside my dorm. It usually sounds like the roaring of large vehicles, and what I can assume is the assembly of the structure of a new building (normally it sounds like materials crashing together, but it tends to change things up once and awhile). Once I am far enough away from the construction zone, I start to hear birds chirping from the trees above me. Often I hear squirrels scampering in the trees. (I can see them too. The other day I saw one with a french fry, from what I assume was left on the ground by a student who couldn’t find the compost bin in time.) From there I pass the ring road. Cars are surprisingly loud on this road, and I tend to notice their sounds the most; especially when it has rained, and you can hear their tires charging through the puddles. The most prominent sound, however, are the ones I hear of students with their groups of friends. Being in a dorm room by yourself for most of the day really makes you notice a person’s voice. It’s almost reassuring, as it makes me feel less alone. I think my favourite sound at this moment in time is laughter. (Especially if it’s my own!) Sometimes it’s nice to stop thinking about how scary the world is right now, and instead listen to the happiness that is occurring all around you. 

 

4. How do you relate to the phrase “free time only works if you steal it?”

 

I think quarantine is a perfect way for me to analyze this phrase. Over the past few months, most of us have had lots of free time; almost too much of it. At some point, it stopped feeling like free time, and became an everyday chore to do nothing. My life eventually adjusted to a different routine. I would occasionally do work and practice, but I wouldn’t do activities I would normally do in my time off. I feel like I can relate to this statement, as free time only really works as free time when it is stolen from a busy schedule. Now, I find myself to be more busy than ever. Adjusting to university life is difficult, and I find the few breaks that I do take have been greater and more fun than the last 6 months I spent at home (when I actually had the ability to have fun and take breaks whenever I pleased!) Therefore, I relate to this statement, and agree that free time only works if you steal it, as it puts more worth into that time. 

 

5. Do you have any other takeaways from the film?

 

One thing I loved about this film was how Leslie Laskey talked about art and his creative process. I also found his perspective on life intriguing and inspiring. At the beginning of the film, he took what I would consider an everyday forgotten object and saw its potential and the meaning behind it. He saw its history, which allowed me to ponder the history of objects I would previously never give a second thought to. In addition, I now actively pay attention to what colours I see and sounds I hear the most when I am outside. I also started to look at light differently. At a very specific time in the afternoon,, roughly around 3:14pm, the sun shines through the dense trees and somehow makes its way through my small window and onto my cactus. This is the only time my plants ever get direct sunlight. Now, every afternoon, I think about how my meaning of light differs from theirs. I would like to appreciate that small window as much as they do. 

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PROMPT 2

 

Imagine you’ve been hired by Elon Musk to create a golden record type project for a space probe leaving Earth today. Select 3 examples of music, sound of noise that you would include. Include links (if possible) of your choices.

 

https://www.youtube.com/watch?v=ckKeQNCyPBU Jimmie Davis- You Are My Sunshine

https://www.youtube.com/watch?v=2cBzMSPYKas (a lullaby version)

Description: This song has been recorded by dozens of artists, but was made most popular by Jimmie Davis. It was originally created as a country song, but has been adapted as a lullaby. 

Rationale: This song has significance in my life, as my mom used to sing it as a lullaby to me when I was younger. I associate it with motherly love and comfort, and want to share that feeling with others. (human or not) Listening to this song may allow extraterrestrial beings to understand and feel this idea of motherly love and comfort, and be able to experience a similar childhood innocence this tune depicts. 

 

https://www.youtube.com/watch?v=FvsR1GBJc8E (starting at 0:07) Small crowd of people talking and laughing

Description: This sound records a small crowd of people talking amongst themselves. Every few seconds, a person’s laugh can be heard over the group. 

Rationale: One of the great joys of being human is the ability to be part of a community; to surround yourself with a variety of beautiful beings whose stories are so excitingly different. I believe that the sound of a small crowd could allow other worldly beings to visualize this unique quality of humankind, especially in the occasional laugh that fills the room with joy. 

 

https://www.youtube.com/watch?v=o37Za-ifxKw Rest- Frank Ticheli 

Description: This is a piece Ticheli wrote based on a choral piece, and inspired by the poem Rest by Sara Teasdale. It is written for a wind band. 

Rationale: Rest is a piece about loss and moving on. I remember the first time I heard this piece in my city’s concert hall. The story it tells helped me to cope with a recent loss, and to this day I still tear up when I hear it. I believe that this piece has the ability to allow extra-terrestrial beings to experience this idea of losing a loved one, as well as overcoming that loss. That feeling is so prevalent to our society, I feel it is important to put out into the universe. 

 

Rest- Sara Teasdale

“There will be rest, and sure stars shining

Over the roof-tops crowned with snow,

A reign of rest, serene forgetting,

The music of stillness holy and low.

I will make this world of my devising

Out of a dream in my lonely mind.

I shall find the crystal of peace, – above me

Stars I shall find.”

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PROMPT 3

 

Listen to Gould’s 1955 recording of the Goldberg Variations. Then listen to this 1981 version of the same piece. You may find it more effective to listen on spotify instead of youtube as the individual sections are easier to access. Choose the same section of each version. This is important. Compare and contrast the differences in each performance. Considering SHMRG elements, textural elements, and anything else that serves your interpretation of these very distinct and different performances. Take your time and try to articulate sound using words. (250 word mx.)

 

Section: Goldberg Variations, BWV 988: Aria da capo 

 

Aria da capo in the Goldberg Variations is a beautiful piece of music, and is evidently performed this way in both the 1955 and 1981 versions. However, both recordings are quite different in style, rhythm, sound, and shape. The 1955 version of Aria da Capo begins with a steady base line in the left hand, and a light and delicate right hand melody. The bass line allows it to drive forward, interrupted by a few fluctuations in time to end some phrases and give shape. The melody serves as a storyteller, having some dynamic pulses to outline the phrasing and give it a slight push and pull. Overall, this recording gives off a more happy and stable sound and drives the melody forward. The 1981 version of Aria da Capo provides a very different and contrasting sound. Right from the beginning, we hear that the rhythm and tempo are more relaxed, and follows feeling and mood, rather than a strict time. The flowing bass line allows for a greater push and pull of the piece, creating this beautiful and enchanting tension that is released after a phrase. This is also enhanced by the dynamics, which flow throughout the piece, following an arch and almost telling a story. In contrast to the 1955 recording, this version sounds as if reflecting on a melancholic memory. In analyzing style, rhythm, sound and shape, we can understand how recordings of the same piece can be so contrasting and sound so different.

 

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PROMPT 4

 

Imagine that a ghost arrives on Earth who erases all music of the past. Every score, every recording, every history book, every performance of every single piece of music written in the past is suddenly and mysteriously vanished. You can recall names of great composers, but you can recall nothing of their artistic contributions. What is now available is only music of the present day in October 2020. First, discuss any ethical implications of playing music exclusively of the past. Then please write about the music you would then perform on your instrument and include any links to this music, if possible. Why are you including the music you select? Finally, offer your cogent opinion on this quote from Nietzche:

 

“If you are to venture to interpret the past, you can only do so out of the fullest exertion of the present. Only when you put forth your noblest qualities in all their strength will you divine what is worth knowing and preserving in the past. Like to like! Otherwise, you will draw the past down on you.”

 

I would like to preface this post by sharing that this thought experiment took over most of my Sunday. I couldn’t stop thinking about how my musical education started, and the basis to why I love music so much. In addition, I questioned the point of my potential career. Would I still want to become a musician if all my knowledge of the past was erased? How would music change in the modern day? Would music of the present still evolve, or would we go back to try and recreate the past, in hopes of remembering what was once the basis and the fundamentals of music? After this mini existential crisis, I realized that, luckily, the chances of music of the past disappearing off the face of the earth are very slim (one would hope), and that I should use this thought experiment to both understand the privilege past music holds, and learn to appreciate the music of the present (as well as the influence of the past). 

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In response to the ethical dilemma related to playing past music, I have found in my experience that all the ensembles I have been a part of play music from mostly dead white men. Not saying this music isn’t important or influential, but it does happen to take up most of the space for concert repertoire. Therefore, I cannot tell you many pieces I have played from living composers. In writing so, I realize that modern day writers are not getting the exposure they deserve. Only playing music of the past allows for less opportunities for present composers to share work and gain popularity. If there is no audience for modern music, it is harder for these artists to get financial stability, therefore affecting the modern music industry. This leads to older styles of music being prioritized in teaching, compositions, and recordings. In regards to what music I would play on my instrument if all past music were to disappear, I will be honest with you and say I have absolutely no idea. Since I am used to playing music of the past in orchestra, I don’t recall playing any modern music that truly spoke to me other than works of Frank Ticheli, or perhaps Sammy Nestico. (That being said, these composers are both white males, which I find interesting.) For my individual instrument, however, a piece that truly got me interested in percussion is Mark Ford’s “Stubernic”.   https://www.youtube.com/watch?v=WCiyuKm067M&feature=emb_logo

I watched this piece in grade 8 during a band festival, and until that moment I never realized how complex a marimba truly its; how it can make such a unified and beautiful sounding piece all on its own, and how modern techniques can be used, such as using the bars as percussive instruments, or using different parts of the mallet. I believe that modern pieces like this should be popularized, and in addition, more pieces by women, people of colour, or minority groups should be recognized in the music industry.

Finally, I agree with Nietzsche’s quote, as I believe that we need to understand the present in order to fully appreciate the past, as well as understand what is worth knowing about it. I thought it was interesting how Nietzche mentioned how otherwise, “you will draw the past down on you”, as I believe that we have done this ourselves in music. We have this continuous cycle of using past music in much of our repertoire that it has become most of our present. 

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PROMPT 5

 

Listen to a piece of music we learned about in the text. In 200 words, describe your experience. What changed for you over repeated listenings? What new perspectives did you attain? 

 

I chose to listen to Handel’s “Watermusic”. At first listen, I would describe this piece as light dance music. It begins with a waltz, and follows with a climactic quadruple time section, ending in the same time signature, but in a more similar style to the opening. When I repeated the piece, I realized I was concentrating more on memorizing the melody rather than focusing on the different components of the composition. Therefore I found myself restarting the piece over and over again; trying to isolate the harpsichord, or perhaps listen to the shape of the dynamics. However, I realized that this was pointless, and I was perhaps being a little too critical of the creative process, so I eventually allowed myself to succumb to the music. Doing so helped me relax, and allowed the hidden accompanying lines to speak out for themselves. After listening to this piece a few times, I started to imagine myself dancing to the music. I also started to tap the rhythm out on my legs and move along with the melody. I felt as if I were in a movie, and this was the soundtrack. It was truly an interesting way to analyze a piece of music, and I am interested in how my perspective would change the more I listened to Handel’s “Watermusic”. 

https://www.youtube.com/watch?v=4yurw5Cf4HY 

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PROMPT 6

What should a university music school of the near future consist of? Think of 3-5 years from right now. Be specific and boldness is encouraged. What would it include particularly towards the aim of dismantling the white racial frame of music theory and history? Consider the following quotation in relation to your work on your instrument:

 

The practice that neutralizes the common sense intuition of the most privileged members of society as objective knowledge. 

 

Watching Adam Neely’s video on white supremacy in music theory made me analyze how schools have been running their various music courses. I realized that I know little to nothing about music from around the world, as all of my theory courses have been focused on Western Classical traditions and methods. Everything I know about music relates to deceased European males. In addition, I realized those who are privileged enough to attend a university will be the few who are taught these things, essentially making a hierarchy of musical knowledge, with Western Classical music at the top. This is what leads to white supremacy in music, and has essentially discriminated against every other genre from various other countries. Even if the process takes a while, I believe university music schools should consist of theory courses that teach music from around the world. In addition, music history should also expand the curriculum to include the history of different countries’ types of music. In an attempt to stop focusing solely on the music of the past, I believe schools should start creating classes to explore the theory behind modern day compositions. Orchestras and symphonies focus so much on music from past centuries that they are disregarding the great compositions created in this decade. Having classes explore these pieces will help aspiring composers navigate through their career, and provide exposure to many of the modern day composers. Lastly, I believe there should be mandatory classes about how technology is used in music today. Our generation composes, creates, and listens to music on technology, and therefore I believe people should be educated on how to do so in order to further expand our knowledge on modern day music and learn more about the industry. 

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PROMPT 7

 

Listen to these three pieces. All of them exhibit aspects of “Participatory discrepancy”; moments negotiated in performance where musical elements come together but that agreement is loose. These are often really exciting elements, often not lining up metronomically or lining up with precise intonation. In 300 words maximum, describe the participatory discrepancies in these recordings below. 

 

Polacca by OOIOO starts off with a heavy drum beat slightly off sync with a group of singers. Throughout the song, the rhythm and melodic word line go through waves of matching and being slightly askew. The electric guitar sounding instrument that enters about a minute in through the song has a distorted sound, having less precise intonation. A few minutes later, a higher melodic line is introduced, with more pitch bending. As the piece builds, more layers of sound are added to create slight polyrhythms of triplets and straight beats. Closer to the end, there’s a pause in the music, leading to one of the climaxes of the piece that includes multiple rhythms that have a loose metronomic agreement. 

 

The bass plays an important role in Sly & The Family Stones “Space Cowboy”. The notes are low, and sometimes sound more like rhythmic drum beats rather than pitches. This line is later accompanied by a melodic line. This chorus jumps around notes and uses yodel sounding techniques to approach higher pitches. Doing so creates a sort of glissando, sounding out in-between notes that have no precise intonation .

 

Similar to the previous song, Patato and Toticos “Agua Que Va A Caer” employs a main melodic line that reaches for higher notes with slight glissandos, creating pitches with less exact intonation. After the singing section, a guitar takes melody. The rhythm between drums and guitar is similar but not exact, and has a loose rhythmic accuracy. 

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PROMPT 8

 

Why does Dr. Munarriz consider the label “Latin American Music” problematic? Do you agree or disagree with his position? Why?

The term “Latin America” encompases a wide range of groups of peoples, including the Spanish, French, and Portuguese that live in the Americas. Therefore Latin American Music includes the music from all these people. This can be problematic, as it is too broad of a term, and doesn’t fully allow for the representation of all the different subgenres to be heard and presented. I agree with Dr. Munarriz, as I believe there should be better representation for these different styles of music. 

 

What is the difference between Latin American Music and Latin Music?

Latin American Music derives from Latin Americans, who are from American regions and speak Spanish, French, and Portuguese. In comparison, Latin Music is created by Latinos, who are the descendants of Latin Americans and now reside in the United State of America. 

 

What are ostinatos and how are they used in many Caribbean and Latin American musical expressions?

Ostinatos are specific sections of music or rhythm that get repeated in a piece of music. They are very important to Latin American Music, and can be heard in many of their different genres. In Caribbean and Latin American Music, ostinatos form as the foundation and structure of a piece of music, often being the underlying rhythm for an entire song. This makes the tune catchy, easier to follow, and nicer to dance to, as it is the structure for the composition. 

 

What are some of the Latin American expressions in which the so-called “Habanera Pattern” can be easily identified?

The Habanera Pattern is found in many of the subgenres in Latin American Music. Of the main ways it was adapted into music was called Contradanza, which was derived from the English “Contra Dance”. This style of music was very popular in Cuba during the 19th century, and used the Habanera pattern as a basis for their compositions. This made them easier to dance to. Other names of rhythms that were used in Latin American Music similar to the Habanera Pattern include the Tresillo, Amphibrach, Cinquillo, and the Clave. 

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PROMPT 9

 

In consideration of the whole point of Session 11, discuss how a musician can succeed in Covid times. What adaptations can they implement? What specific challenges do they face? Incorporate specific examples.

 

Covid has created many challenges for musicians in 2020. Lots of performers made a living by performing and doing gigs. However with the inability to be in groups, performances have been put on hold and therefore these musicians have had to find alternatives for getting an income. Personally, I know a few people in the Calgary Philharmonic Orchestra who were laid off, and were worried about being able to comfortably sustain their living expenses. In addition, many of them were teachers, so with lessons postponed, the income of private music teachers went on hold. 

To deviate from the financial side of Covid, many musicians, including myself, have faced challenges in being unable to fully pursue their passions in participating in live performances. To some, performing is an outlet or a way of emotional expression. Those who relied on live music to help cope with challenges in their life were forced to find other ways to express themselves and participate in other things they enjoy doing.

However, what is most important during these times is keeping yourself and others safe, so there are ways for musicians to help make a living for themselves, but also continue to pursue their passions. Some of these solutions include organizing live video performances, allowing for views to donate. This can also happen on other streaming platforms such as youtube. Websites such as patreon or paypal can be used to set up an optional donation place for viewers to donate to their favourite musicians. In addition, in reading some of the affiliated articles, creators can perhaps create merchandise such as t-shirts, or sell CDs and vinyls. 

In addition, during the warmer days of quarantine, many musicians held socially distant concerts outside. My jazz combo group did this back in my home town in Calgary; we set up our equipment on my front lawn and performed for our neighbours who all sat in lawn chairs on the other side of the street. It was a way to share our love of music with our friends and family, and we were able to accept donations for our efforts from the community. We received a lot of positive feedback from this, as it gave us a chance to perform again, and our community the ability to participate more in the Covid music scene.