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Musical Web

While taking this course, I realized how interconnected songs can be. Different genres and themes intersect to create a whole web of musicality. Towards the end of this course, I recognized that so many songs in this class are extremely recognizable, even to those who have never delved deeper into musical analysis! I will be taking a look at the more recognizable pieces of music throughout history and analyzing them with a fresher, more well-rounded perspective than I had at the beginning of this semester!

Scott Joplin’s “Maple Leaf Rag”

https://www.youtube.com/watch?v=pMAtL7n_-rc

I don’t think much new analysis can come from analyzing this song again, since I’ve actually done a listening log on it twice, accidentally! Also, I’ve been exposed to that piece since I was young, being involved in learning instruments like the guitar, and most intensely, the piano. This song perfectly embodies the ragtime genre; there is lots of syncopation, bright, jaunty, and bouncy melodies, and lots of piano! As there are no lyrics to focus on, gaining a sense of tone may be tough for some, but for Joplin, it is not a challenge because you can absolutely hear the happy tone, in his actual recording. Also, by using a wave-like contour, Joplin is able to not only increase and decrease the volume but also the tempo of the piece, leading to some great musicality. 

I think that Candelaria’s “stream” of swing jazz isn’t necessarily influencing “Maple Leaf Rag;” in fact, I believe it is the opposite. Ragtime absolutely influenced drag. Rhythm is extremely important in both ragtime and jazz; the bass line in “Maple Leaf Rag,” even though it s only being played by the piano, is extremely prominent and lends it hand to being able to being played by an actual upright bass with no issues! Syncopation also leads to a very dance-like song, which swing jazz is very reliant on! To add onto this, improvisation is used heavily in ragtime and in swing jazz! The freeform ideas led to new and interesting songs each time a song is played. I see some connections to the song “Hello! Ma Baby” as there is syncopation as well as some danceability to the pieces. Although the aforementioned piece has lyrics as well as strings, there are definitely jazz and ragtime influences!

Bernard Herrmann’s “The Murder” from the film, Psycho

https://www.youtube.com/watch?v=cyIxdOctioo 

This piece is absolutely some of Bernard Herrmann’s finest work. It is so recognizable, and it is even mentioned in conversation! My dad, recently, even referenced the song when talking about a creepy hotel experience he had; it definitely led to some laughs today, but when the song and its film, Psycho, first premiered, the suspense the song built was crazy! The staccato strokes from the strings are so influenced by fear as they are so jarring and dissonant. Something I didn’t realize at first but realize now is that the strings section used glissandos; that fast-paced movement of fingers along the violins’ strings lead to some very nuanced tones. One doesn’t think to expect to hear such a scary tone from beautiful violins. No lyrics in the piece lead to a more focused scene, as one doesn’t have to analyze lyrics while already analyzing the scene in its totality. 

The classical music “stream” has influenced this piece the most. Music, as a form of entertainment, has been a part of history for so long. With the invention of new technologies, like radio, cinema, and television, music becomes a more integrated form of entertainment, as it is much more accessible to the general public. If this piece was composed for a classical theatre setting, I do not believe it would have garnered the same reaction. However, by using the classical music “stream” to its advantage, Herrmann harkens back to earlier and more old-fashioned orchestra tropes but completely turns them on their head by being involved in a horror film. 

John Williams’ “The Imperial March” from the film, Star Wars: A New Hope

https://www.youtube.com/watch?v=-bzWSJG93P8

https://www.youtube.com/watch?v=y8-8xeUvS1g

This iconic piece from the epic film, Star Wars: A New Hope, definitely derives from Candelaria’s “stream” of classical music. As it is performed with a full orchestra, classical music from earlier periods definitely inspired John Williams to create a full-bodied and dark song. In the actual scene, the music sort of takes the back seat to the gargantuan spaceships and Darth Vader commanding the scene. However, the music is necessary because it sets the tone. If the song were much happier, it would be confusing to the listener, as the characters in this scene are seen as “evil.” This song has to be one of the most memorable leitmotifs in all of film music, in my opinion. The trumpets are extremely menacing, the tempo is march-like, and overall, it is a forceful and controlling motif. To expand on the tempo, since the song is called a “march,” it’s important that a 4/4 tempo is put in place, so walking can be in time to the music. This is not a triumphant tune, however. It is aggressive and terrifying, and a shadow of mysteriousness shrouds the character of Darth Vader and his motives, by way of this piece alongside the costume design and filming. While other composers have used leitmotifs in the past, John Williams has certainly become a pro at it, examining Richard Wagner extensively, since he is the earliest composer associated with leitmotifs. 

George Gershwin’s “Rhapsody in Blue”

https://www.youtube.com/watch?v=ynEOo28lsbc

Although I do not particularly like this piece, I cannot deny how important it is for musical history. I can absolutely see the classical “stream” affecting this piece as well as lots of jazz influences. The orchestration is absolutely classical, but the rhythm and influences from different cultures in the United States are wholly a part of jazz. The length of this piece is something I take issue with, since I already find the song boring; the different themes sort of drag on, and although there are solos from clarinets and pianos, focusing was just super difficult while listening again.  Dynamic and tempo differences are used wisely in this piece, which I have to commend. 

Arthur Collins’ “Hello! Ma Baby”

https://www.youtube.com/watch?v=-Q6kG2r41lQ

https://www.youtube.com/watch?v=bkjsN-J27aU

This piece has classical and jazz “streams” in it. I grew up more focused on the frog’s performance of this piece, rather than the original composer’s, which leads to some bias for which I enjoy more. I enjoy the lively animation and more lively performance that Looney Tunes gives, rather than just the piano and voice in the original performance. However, the former is much shorter and leads to a more bare-bones analysis. Since the frog’s performance is fast-paced, it cuts out a large majority of the lyrical genius that Collins was writing about, something I didn’t particularly focus on during my original analysis. Since minstrel performers usually performed this piece, back in the day, it took more of a humorous tone as time went on. “Coon” is referenced in the lyrics, which is indicative of this. The more I look into the lyrics, the more I find them creepy for today’s standards. In this piece, the singer has never seen his girlfriend’s face; he has only listened to her voice and inflection. While long distance relationships are much more common today then they were in the past, there are many more ways to connect than just talking over the telephone; what if the singer was being catfished?! All kidding aside, I’m glad I took another look at this piece, and I now have a newfound appreciation for it. 

Music, as a connector for all people, is so important. In this class, I realized that songs are connected a lot more than how they originally seemed. Popular music today has such deep roots in older pieces and in older genres. However, by taking bits and pieces from older genres, composers can create new and originally pieces that affect today’s society in very profound ways. 

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The Role of Music in The Wizard of Oz

The Wizard of Oz is a musical film released on August 25, 1939. It was directed by Victor Fleming, and the musical score was composed by Herbert Stothart. The music for the songs was composed by Harold Arlen, and the lyrics were written by Yip Harburg. This musical film is ubiquitous in American culture for its songs like “Somewhere Over the Rainbow,” performed by Judy Garland, and “We’re Off to See the Wizard.” However, the underscoring is vital to the cohesion of the entire film. One scene exemplifies the usage of underscoring to intensify the emotion of the scene: the Twister scene.

Overall, the role of music in this film is extremely important. This is because the songs add depth to the unknown environment and the characters. “Somewhere Over the Rainbow,” for example, explains the main character, Dorothy’s desires to travel somewhere other than her drab home of Kansas. The songs from each of the secondary characters, The Scarecrow, The Tin Man, and The Cowardly Lion, each show their wants for a brain, a heart, and courage, respectively. 

http://www.tcm.com/mediaroom/video/97706/Wizard-of-Oz-The-Movie-Clip-We-re-Not-In-Kansas-Anymore.html

When the tornado scene begins, the lack of music intensifies the situation that Dorothy is in. She is stuck, trying to get into her house while in the midst of a cyclone. Almost a minute in, the sudden inclusion of the orchestra, along with cymbals, accentuates the fact that Dorothy was knocked unconscious by a window pane. The orchestra continues, sounding as if Dorothy is in a dream-like state. As the farmhouse flies up into the cyclone, glissandos from horns and strings indicate that the house is “falling” upwards. When Dorothy wakes up from her “nap,” the melody shifts to be more light-hearted. The protagonist looks out her window to see animals and people flying by, and the music highlights the humor in that either by playing a cute melody or having music that represents what is going past. As Almira Gulch enters the shot, flying on her bicycle,  the “Miss Gulch/ Wicked Witch of the West” theme is heard. This seven-note leitmotif plays every time the actress, Margaret Hamilton, is on screen. This theme is representative of the evil of the character since Hamilton plays the antagonist of the film. Suddenly, Miss Gulch transforms into the Wicked Witch of the West and the strings that once dominated the grim riff are also metamorphosed into horns. Then, the scene shifts to another shot of the tornado, and the music reflects the house falling down via the usage of glissandos. There is a sense of uneasiness in the music, since Dorothy doesn’t know where she will land, let alone whether or not she’ll survive the fall. 

When the house finally lands, the music suddenly stops. This is very effective because it shocks the audience, just like Dorothy is shocked when she is dropped, safe and sound in an unknown place. Dorothy finally leaves her room and enters the Technicolor land of Oz, and a grand orchestra begins to play with an emphasis on beautiful strings and bird sounds. These sounds show the audience that Oz is a gorgeous place filled with nature and wondrous things. “Somewhere Over the Rainbow” is heard as a flashback and as a leitmotif to Dorothy’s earlier ballad. This symbolizes that Dorothy has gone over the rainbow into a better place. As the camera pans over the set, a later song which occurs shortly after this scenic shot, “Ding Dong the Witch Is Dead” is alluded to in the orchestra. 

https://www.youtube.com/watch?v=TP_wx0qrKu0

As the scene continues, and Dorothy says, “Toto, I have a feeling we’re not in Kansas anymore,” “Somewhere Over the Rainbow” is sung by a choir through a series of Ahhh’s. Violins play a high note in the background, adding more structure to the choir; an oboe then repeats the motif sung by the singers. Dissonance is then heard immediately from the orchestra, as a mysterious bubble approaches Dorothy and Toto. This adds tension to the scene, for Dorothy and for first time viewers, as neither know whether or not the bubble will hold something kind or malicious. To counteract this, as the bubble turns pink, the orchestra erupts into a crescendo of a soft and major-key sounding melody. “Somewhere Over the Rainbow” is heard once again, reinforcing the fact that Dorothy has arrived “over the rainbow” into a new and strange land. The music quickly fades as Glinda the Good Witch arrives; this is so the dialogue can be heard clearly, as this exposition is very important for the rest of the film. The music turns into a pianissimo, and climbs down a chromatic scale until music is not heard anymore. When the camera angle shifts to show the Wicked Witch of the East’s ruby slippers, the “Miss Gulch/ Wicked Witch of the West” leitmotif is heard to emphasize the fact that the witch is related to her evil Western counterpart. Flutes then bounce up and down to turn the conversation back to the light-hearted topic of whether or not Dorothy is a good witch or a bad witch. 

https://www.youtube.com/watch?v=XOEq-ImGWJ0

There is then a transition which leads into the scene where Dorothy the Munchkins, and they congratulate her for killing the Witch of the East. At the beginning of the video, the violins hold a very high-pitched note, to show that the Munchkins are uneasy of meeting Dorothy, as she just dropped a house in their village. Diegetic then follows as Glinda sings to tell the Munchkins that everything is alright, and the Munchkins follow her lead by repeating what the witch says. The music is extremely light-hearted and expositional to continue to urge the Munchkins to trust the young girl. Billie Burke has very unique vocals, in my opinion, and they definitely bring a nice tone to the piece; she is very regal and bubbly, much like how Glinda actually acts in the film. 

The music then shifts very quickly, to something a little bit more aggressive and forte. This is so that Dorothy can tell how she was swept up into the tornado. There is more of an emphasis on horns in this portion, and they act in almost a march-like tempo. Judy Garland speak-sings in this portion, as she is telling a story. The flutes and other light wind instruments emulate the tornado sounds from the previous scene, which adds a nice touch! The Munchkins then repeat Dorothy’s words to each other. The music shifts to a higher octave, which was a smart choice as the Munchkins are rather small in stature! The majority of the orchestra follows the melody and remains a mezzo forte through this portion. 

Horns are then heard again as horses and a coach arrive for Dorothy, signaling their arrival. As the more higher class Munchkins thank Dorothy for her good deed, there is supposedly non-diegetic music that spotlights the string instruments and dies down a bit in tempo so that the Munchkins, who are only speaking, can be heard. There is an upward contour to this movement, which simulates the added compliments to Dorothy. There is then a sudden minor-key trill and minor, dissonant chord as Glinda proclaims that the Wicked Witch of the East is dead. 

The next transition is to “Ding Dong the Witch is Dead,” one of the most popular songs from the film. The song is in a major key, and includes the entire orchestra and the Munchkins singing in a very celebratory tone. The marching band marches towards the village’s center, which adds some interesting percussion to the piece. Horns are heard once again, signalling the arrival of the mayor, which starts of as an upward contour but then turns to a downward contour so the music can diminuendo for the mayor to be heard while speaking. The orchestra bounces along, with lots of low bass notes accentuating the rhythm as the mayor speaks in time with the music. The music goes upwards, chromatically, as the Munchkins add adverbs to verify that the witch is absolutely dead. The coroner then walks up the steps and sings that the witch is “most sincerely dead;” the melody of the orchestra follows the odd voice of the Munchkin, and there are some arpeggios to add texture to the movement. Finally, there is another low trill as the mayor declares independence from the evil’s witch’s rule, and “Ding Dong the Witch is Dead” continues in a very jubilant and forte tone. The marching band marches over to the stairs of the village square and make room for Munchkins to thank Dorothy; this segment is marked by lots of percussion to sound like marching as well as lots of brass instruments. 

As the Lullaby League enters, the music transitions into something very airy and innocent. This is so that the dancers can dance on pointe as well as sing in a very high soprano voice, which also characterizes this group of Munchkin’s ballerina-like qualities. The Lollipop Guild then makes its way to the center of the village. Their entrance is in 3/4 time, which is different from the rest of the song, which is in 4/4 time. This absolutely differentiates their part from the rest for viewers, as it agitates listeners into focusing on their voices and more surly dancing and expressive faces. The instrumentation for this entrance also very different from the Lullaby League’s as the former was more focused on strings, and the latter focuses more on deeper brass instruments and percussion. The timing then transitions back into 4/4 as the Lollipop Guild sings, and the orchestra backs them. 

The final section for this piece is a grand finale, where the Munchkins formally invite Dorothy to Munchkinland. The full orchestra plays as well as the introduction of bells. This is absolutely the climax of this piece, as this section begins slowly and crescendos very quickly as the Munchkins sing “Fa-la-la.” It is also at a forte, and hangs in a major key at the end. However, something foreboding is about to occur.  

https://www.youtube.com/watch?v=Leb83bRkXDg

As the Munchkins hold their second to last note for “Ding Dong the Witch is Dead,” which is also the dominant of the chord and should have been resolved into the tonic of the chord to end the song, the Wicked Witch of the West appears in a bang and a billowing cloud of red smoke. There is a sudden change to a minor key and nondiegetic music with lots of dissonant chords so that the audience can know that an evil presence is among the Munchkins, Glinda, and Dorothy. There is some musical reference to the tornado scene as well as the “Miss Gulch/ Wicked Witch of the West” leitmotif. The violins go slightly down a chromatic scale, which is very jarring as there is no transition into the violin solo. As the Witch of the West walks towards her sister’s final resting place, the strings trill as the brass instruments quickly fly down a chromatic scale downward. Dorothy speaks about the witch to Glinda, and the music dies down but remains present. Lots of dissonance as well as bass notes accent this portion of the scene. When the evil witch says, “I can cause accidents too!” a drum rumbles in the background. There is then some more allusion to the “Miss Gulch/ Wicked Witch of the West” leitmotif, however it differs some, as it is in a different key. When the camera moves over to the Witch of the East’s feet, a forte dissonant chord occurs as the feet shrivel up, and the ruby slippers teleport to Dorothy’s feet. Basses then do a skip-wise motion downward and end on a note which isn’t in the minor chord. When the camera shifts to the ruby slippers on, the music changes back to a major key shortly, with the strings acting reminiscent of “Somewhere Over the Rainbow.” When Glinda says, “Be gone before somebody drops a house on you!” a dissonant chord appears as The Wicked Witch of the West looks to the sky out of fear. The orchestra then trills while the Wicked Witch monologues for her final time; the trill is mezzo piano, but there is the occasional pulse of mezzo forte to accent the dire situation Dorothy is in. When the evil witch disappears in another cloud of red smoke and fire, the trill shifts up an octave, and the scene finishes, ending on a tense note without any resolution.

The underscoring in the whole portion of the film is necessary to make the famous sequence a true masterpiece. It’s so brilliant that most people can still hum along with the music! Herbert Stothart crafted the sounds of the orchestra beautifully to not only demonstrate how a tornado sounds, but how certain themes are played out for the rest of the film. Highlighting the music definitely lead to myself having a greater appreciation for the film, overall. I, actually, used to not like listening to “Somewhere Over the Rainbow” and other classic songs from the movie, but now, after examining how much effort into creating each song, I have a new-found love for them! The underscoring in the twister scene is and always will be my favorite part of the score, as so many famous leitmotifs appear and foreshadow the rest of the events of the film! In the future, I will try and apply these analytical techniques to some of my other favorite musical films! I thought about doing this post on Chicago, La La Land, and Hocus Pocus, so I will definitely try watching those next!

References

Kiesling, Natalee. "Film Guide to The Wizard of Oz." SUNY Fredonia. May 8, 2001. Accessed March 20, 2017. http://www.fredonia.edu/department/english/shokoff/Wizard.htm.

Rodman, Donald. ""There's No Place Like Home": Tonal Closure and Design in The Wizard of Oz ." Indiana Theory Review 19 (1998): 128-30. Accessed 2017. https://scholarworks.iu.edu/dspace/bitstream/handle/2022/3564/RodmanTheresNoPlaceV19.pdf.

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“Hallelujah” and Its Influence

When I was younger, I remember listening to the Shrek soundtrack on repeat and watching the film a lot! Even though the film has achieved meme status now, I have fond memories untarnished by its weird cult status on the internet! My favorite song on the Shrek soundtrack was absolutely “Hallelujah.” To me, this song is very grim but also comforting in some ways; I always get nostalgic listening to it. I’ve put two artists who have performed the song below and gave my thoughts about each performance! It’s very interesting to see the different ways the artists mold the song to be their own. 

Leonard Cohen 

Leonard Cohen composed “Hallelujah,” although to little initial success. The song, overall, is absolutely the pinnacle of secular hymns, as there are to religion but there more of a focus on faith and a general higher-being, however there are still references to the Bible if you dig a little deeper. . It is performed in 12/8 time, which is very interesting as it sort of intersects the rock-and-roll and gospel genres. What I really enjoy about this composition is that Cohen wrote the song’s lyrics and music intertwined with each other. The lyrics "It goes like this, the fourth, the fifth, the minor fall, and the major lift," also move with the chord progression of C, F, G, A minor, and F, which is the exact same as what’s happening in the music! I believe this song, especially that phrase are musical genius. However, I do not necessarily enjoy his version the most. His voice is rather gravelly and more “talky” and not how I imagine the song to be sung. I imagine the piece to be more clear in tone and much more like a gospel choir’s tone. Although I do not particularly like this version, as time went on, more artists chose to cover “Hallelujah” and bring their own takes onto the song. 

https://www.youtube.com/watch?v=YrLk4vdY28Q

Pentatonix

If you didn’t know already, Pentatonix is a very popular a cappella group who got their fame from The Sing-Off and YouTube. Their take on popular music is very refreshing in an era where electronic music has taken over; by just using their voices, this group creates new sounds that are extremely fascinating! Their cover of “Hallelujah” is no exception. The group deconstructs the song at the beginning to its bare bones then build it up for an amazing climax at around 3 minutes 30 seconds, which amazing when you hear the words “hallelujah” at a fortissimo. I definitely have to commend Avi Kaplan’s bass notes; every time I listen to his parts in the songs, I get chills because his notes are SO LOW!!!!! His voice is also extremely clear, which is very interesting since many singers tend to riff to create more powerful tones. Kirstin Maldonado, Scott Hoying, and Mitch Grassi have incredibly powerful voices, which is very important in this piece as well. Kevin Olusola has a more understated presence in this piece as the beatboxer. In most songs, his percussion is very powerful, but he took a step back for this piece so that the lyrics and powerful melody could be more at the forefront. Overall, this group has definitely brought “Hallelujah” into a more modern era, since a cappella is so popular. 

https://www.youtube.com/watch?v=LRP8d7hhpoQ

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“Story of the Blues”

“Story of the Blues: From Blind Lemon to B.B. King” is a documentary that depicts the history of the blues. The filmmakers discuss the journey of the genre from the Civil War’s end to the introduction of B.B. King’s song, “Sweet Little Angel” in 1956. Rather than go through the cultural journey, much like the other documentaries watched in the class, this documentary takes a more mechanic approach to the genre. The watcher hears a lot of blues pieces and what makes a blues song a blues song; the viewer also hears about how the genre changed over the years

This documentary depicts many artists skilled in the blues and from which eras they hailed from. Early blues artists such as Lonnie Johnson and Blind Lemon Jefferson are shown as well as later artists like Duke Ellington and Louis Armstrong. As I was watching this film, I realized that there was a focus mainly on those of African ethnicities; this is probably due to the fact that there were a lack of white performers, or the documentary makers wanted to shed some light on those who shaped it mostly. The music from each artist is played during the film so that the watcher can differentiate the styles of playing and the differences of each blues era. 

The blues genre is depicted in this documentary as being played in the Eastern part of the United States. Harlem, New Orleans, Chicago, and Memphis are referenced as large areas where blues flourished. The artists aforementioned and many others like them performed from street corners to theater venues, as their popularity increased. 

As time progressed, the blues genre evolved with the emergence of technology, as instruments have been improved and even invented as society changed. Things that changed include the usage of guitar, creation of the washboard and the kazoo, and the transition from pure vocals to scat singing. The acoustic guitar became less of a background instrument as electric guitar was ushered in as the new popular instrument. The washboard and kazoo became important instruments as they became drums and voice imitators, respectively. The most striking part of the documentary was actually how creative and individualistic blues artists were and still are. With the creation of such instruments just shows how resourceful the artists were, especially since a basic washboard and jug were used as percussion, just common household objects! I also thought it was interesting how each performance of a piece is original since improvisation is a large part in blues. 

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“Soundtrack for a Revolution”

“Soundtrack for a Revolution” is a documentary directed by Bill Gutentag and Dan Sturman that discusses the synthesis between music and the Civil Rights Movement of the 50′s and 60′s. This film starts with the restaurant sit-ins and bus boycotts, found generally in the early portion of the Civil Rights Movement; the documentary ends with Martin Luther King Jr.’s assassination. All of these events had to deal with the violence that occurred to the African Americans and others who were fighting for equal rights. The directors showcase interviews of those who participated in the Civil Rights Movement and studio recordings of songs typically heard throughout this era of pivotal human rights history. Both of these forms of media allow for personal connections to be made by those who participated in the Civil Rights Movement and the audience watching the film. The entire documentary aptly shows how music brought together those who were fighting for rights of those who were unjustly prejudiced solely because of the color of their skin.

Interviews that include poignant stories and ideas from those such as Coretta Scott King, Julian Bond, and Andrew Young are largely what is depicted throughout this film, in terms of people. These interviews allow for viewers to get personal accounts of how the Civil Rights Movement affected them. Interspersed throughout the documentary are also recordings of songs mentioned by the people in the interviews, but in a modern context. The Roots, John Legend, and other artists are some who allow for their interpretations of the essential Civil Rights Movement pieces. The filmmakers who produced the documentary included the studio recordings and the interviews to show viewers that unity and hope for a better day were things that the activists of the movement employed to face the prejudices of racist Americans. 

The songs depicted in the piece are traditional spirituals originally composed by African-American slaves; these songs allowed for the slaves to communicate and impart their culture on others while working in the fields. During the Civil Rights Movement, activists for equal rights for those of all colors began singing these songs to foster a “sense of solidarity” throughout the United States, especially in the South where racism was, and still is, rampant. “We Shall Overcome” was the theme song of the movement, and the sense of community in that song is very strong. In class, when we sung and held hands while singing the piece, I felt very present and hopeful for days to come; I can’t even begin to imagine how activists felt while singing the song during a trying time, while trying to overcome segregation. The songs that were in the focus of the documentary represent the past and strength of all of the activists, especially those of African descent who had to fight for their right to obtain equality to those who were white. 

The African-American spiritual connects people of different generations and allows for those singing and hearing the piece to feel hope and togetherness through song. The songs sung during the Civil Rights Movement still maintain their cultural prevalence, even expanding it. As a choir student, I am very familiar with pieces such as “This Little Light of Mine” and many other spirituals and gospel pieces, and those songs were and still are performed by those of all ethnicities. However, some of the historical prevalence has been diminished as, at least in my choir, we do not discuss where the pieces come from nor their cultural significance. We mainly sung the pieces as they were lively and entertaining. It is important for those who listen to these pieces to actively research the songs to find their cultural importance, since the internet is so pervasive in today’s society.  

The most compelling part of the film to me was when “Will the Circle Be Unbroken” was sung by Richie Havens. As the song was played, images of those who died for the rights of African-Americans were shown on the screen along with how they died. This was particularly moving to me because I have been to the International Civil Rights Museum in North Carolina, and I remember seeing an image of Emmett Till. As I was still in elementary school, the image actually scared me, as the picture was flashed at us while walking through an exhibit. Emmett was a 14 year old boy who was lynched for whistling at a white woman. The two white men who killed him forced the boy to carry a 75-pound cotton-gin fan to a river forced him to take off his clothes. The two men then beat him, gouged out his eye, shot him in the head, and threw his body, tied to the fan with barbed wire, into the river. I’m still so shocked that people could maim and kill those who were different just because of their skin color. I am so sad that many people like Emmett had to die so that something as simple as equality could be obtained, but I am also grateful that those with different skin colors can have rights and not have to be subject to segregation and other atrocities today. 

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Artists and Today’s LGBT Rights Movement

In today’s political climate, it may be hard to discuss “touchy” subjects like LGBT rights. However, it is extremely important to bring to light issues and normalize the subject in society. I have chosen two artists to explain how their music and presence has led to queer representation in media.  

Hayley Kiyoko

https://www.youtube.com/watch?v=I0MT8SwNa_U

Hayley Kiyoko is a musical artist whose music advocating for LGBT representation in media has become extremely pervasive in not just LGBT circles but all over the internet, even being called “Queen of the Gays.” Her most popular song, “Girls Like Girls,” was written for the purpose of putting more LGBT anthems in mainstream media. Kiyoko has said in a US Weekly interview, "I loved the idea of how all these guys always are stealing other guys’ girls and I was like, ‘There’s no female anthem for a girl stealing another guy's girl,' and that is the coolest thing ever, ['Girls Like Girls' has] become a universal video that brings out different kinds of emotions for different kinds of people." Kiyoko’s vocals are very demanding throughout the song; this is so her voice is heard. In today’s media, it’s very tough to be heard, especially if you’re a minority. To further Kiyoko’s message, the electronic instrumentals are quite subdued so Hayley’s voice and overall message can really shine through. Striking lyrics include “Always gonna steal your thunder, watch me like a dark cloud. On the move collecting numbers, I'ma take your girl out. We will be everything that we'd ever need. Don't tell me, tell me what I feel. I'm real and I don't feel like boys,” and “I've been crossing all the lines, all the lines. Kissed your girls and made you cry, boys.” Both lyrics show how the artist is unintimidated by the opposite gender who wants to crush her feelings. 

https://www.youtube.com/watch?v=XOm2rGwmhWg

“Gravel to Tempo,” a more recent song from Kiyoko’s repertoire, references all of her “girl crushes” in high school. By bringing this to light, she is allowing for other teens questioning their sexuality to have their inner turmoil validated. The lyrics, “I don't feel adequate, thinking I'm a monster in disguise” are very important as she was questioning herself in the past, as those she liked didn’t like her back. She began to feel ugly, but she pushed through it so that she could accept herself. The electronic music is very anthemic, which was a very good choice, as the message of this song is extremely important. Hayley has even become the director for her own music videos, as in “Gravel To Tempo,” something very rare for females to accomplish. By not only advocating for LGBT rights but for equality for all genders, Hayley Kiyoko has become a staple in music and internet culture. 

Dodie Clark 

https://www.youtube.com/watch?v=Vpg3gtwepSs

Dodie Clark has become an internet sensation, to say the least. With over a million subscribers on her main YouTube channel, she has brought bisexual representation to a massive audience. Her channel also focuses on her struggles with mental health and other personal issues, resonating with her largely teenage demographic. One song in particular, “She”, displays her struggles with accepting her unrequited feelings for another girl. The intimate, acoustic guitar combines with her very calming, almost hesitant vocals to convey how she’s justifying her feelings of affection. Lyrics that stick out to me are, “Am I allowed to look at her like that? Could it be wrong when she's just so nice to look at?” and “she means everything to me.” In an 3 minute 41 second video, Dodie inputs so much emotion in a small amount of words, compared to most music composed today. Through this, she can truly emphasize each word and show how much she truly cares for the person she is singing about. 

https://www.youtube.com/watch?v=SH_NwvdbecE 

Now, this song holds a completely different tone than “She.” "I’m Bi” is a much more lighthearted and silly, which is very refreshing, as coming out can be such a difficult thing to do. The bouncy piano is so nice to hear, especially with Dodie’s unique and smooth voice! Since the process of coming out can be painful for some, this song would definitely diffuse some of the tension and awkwardness involved; it’d also be very funny to show your friends on coming out day (if you already know they’d be accepting; it’s important to put safety over hilarity!) I love the lyrics “Have you heard of LGBTQ+? Well, I am the B.” It’s so simple, yet incredibly smart with Dodie’s songwriting skills. 

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“Amazing Grace” and Its Influence

“Amazing Grace: The Story of a Song That Makes a Difference” is a film that discusses the beginnings of the most popular hymn in the English language and how the song reflects the culture at the time as well as morphs to create an emotional rise in people. Bill Moyers helps the audience discover how powerful the piece is and how it flows across continents and through time through interviews with many different people. 

“Amazing Grace” was composed by a former slave trader who then became a preacher; his name was John Newton. He was riding on a ship during a storm and had an epiphany that he had complete faith in God. As he was a preacher, Newton’s song had an audience exclusively in Christians and those converting to Christianity in the beginning. Their take on the song was that individuals must relinquish sin to find forgiveness in the Holy Father. The song, actually, did not catch on until the 1960′s, but now the song is universally recognized by those who sing in English. The definition of the lyrics has changed as well because it no longer means finding forgiveness with God but now has a deep connection with people and the memories made, not even with just a religious context.

Many people have been influenced by “Amazing Grace” including black gospel diva, Marion Williams, singer/songwriter Judy Collins, folk singer Jean Ritchie, an entire family, opera singer Jessye Norman, shape-note singers from Alabama and Georgia, Johnny Cash, prisoners and guards, and the Boys Choir of Harlem. One connection that struck out to me was Judy Collins’ interpretation. As she is a singer that advocates for social activism, she sang “Amazing Grace” with African Americans during the Civil Right Movement in Mississippi. She also had personal connections to the song as she related the struggles within the lyrics to her own alcoholism. Jessye Norman includes personal anecdotes about the song as well; she discusses how she actually believes that John Newton took the song from slaves he encountered during his time. She includes a story of how she sang the hymn at the conclusion of a 70th birthday concert for Nelson Mandela and how the song meant togetherness and reflecting on Mandela’s wrong imprisonment along with many others during Apartheid to her and those listening at the time.  

Throughout the documentary, the music varies to convey the style and culture of those who sing it. Marion Williams performs it extremely powerfully, while the next singer, Judy Collins, has an ethereal tone to the song. Even instrumental versions are included in this film to showcase the song’s versatility. The movie actually opens up with a flute rendition of the hymn. Other distinct styles include shape-note singing in rural Georgia, African-American gospel in New York, and an acapella chorus performance. Shape-note singing is defined as having different notes have different shapes to aide the singer in comprehending how to sing with depth; the black gospel choir also used this method of shape-singing, not just the rural Georgian church. Depending on who performs it, there can be improvisations and additions to the traditional piece, but others sing it in a more natural and fuller tone. However, throughout every performance, the audience can still get an idea of how the melody is properly depicted alongside the lyrics. 

The film contains many renditions of "Amazing Grace” in many different places. This includes churches in the United States, a quaint porch, a family reunion, a Japanese concert venue and a prison, surprisingly. The family reunion rendition was very interesting to me as literally everyone at the reunion knew the song and even added multiple harmonies and little improvisations in a folky style to add flavor to the song. “Amazing Grace” was so important to them because generations had sung that song, so family connections ran deep with the tune. The sense of belonging and community within that family was so palpable because “Amazing Grace” joined every individual together to be as one in that moment. The many locations were very eye-opening to me because I only assumed this was sung at chorus concerts and in churches. I had no idea that the song made such a difference in so many peoples’ lives, not just chorus kids and Christians. People of different ethnicities from different socioeconomic backgrounds and even different countries could empathize with the song’s lyrics and be connected through just that one song. 

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Blind Gary Davis

Reverend Gary Davis was born on April 30, 1896 in Laurens, South Carolina. He was the only child who survived to adulthood in his family, and he became blind when he was an infant. Davis was primarily cared for by his paternal grandmother, and during his early years, he picked the guitar and became an expert at it as well as picking up the banjo and the harmonica. In the 1920′s, Gary left home to go to Durham, North Carolina where he taught and collaborated with many African American musicians. After being introduced to the American Record Company, “Blind Gary Davis” was recording many songs that had a gospel influence, since he became an ordained minister in 1937. As the blues scene declined in Durham, he moved to New York in the 1940′s. In the 1960′s, there was a revival in folk music, and Davis became interested in performing and recording music again. Gary Davis influenced the likes of Blind Boy Fuller, Dave Van Ronk, and Bob Dylan. He passed away due to a heart attack on May 5, 1972. 

https://www.youtube.com/watch?v=BTP1q8i6-9Q

“I'm Throwin' Up My Hands“ was recorded in 1935. This blues guitar song has largely downward contours with a very narrow range of notes, jumping up and down from two notes most of the time. The only instrument in this song is guitar, but Davis has a unique style to his guitar playing. He can easily finger pick extremely difficult rhythms and notes, which leads to a complex piece. Lyrically, there isn’t that much to the song; the song focuses much more on the skillful guitar playing. However, Davis is discussing how his girlfriend left him as well as his lack of home and friends. There are references to God, as he repeats, “Lord, Lord” in the second verse; this is telling of Davis’s style since he was a Baptist minister. 

https://www.youtube.com/watch?v=jcL-VvWqNLE

“Cross and Evil Woman Blues” was recorded in 1935 as well. Vocally, Davis sounds as if he is wailing and whining while singing. His tone is definitely unique, and he still uses few notes to convey his feelings. Instrumentally, the guitar in the beginning of the sound almost sounds like an introduction to a rock song made in the 1950′s, which is extremely interesting and telling of the influence of blues on rock and roll. Davis’s expert fingerpicking is also very prevalent in this song. Lyrically, this song discusses how a woman treats Davis very poorly when she wakes up and when she’s just living her life. “Lord” is referenced again in this song as well. 

Sources:

Harold, Ellen, and Peter Stone. “Reverend Gary Davis.” Cultural Equity, www.culturalequity.org/alanlomax/ce_alanlomax_profile_reverend_gary_davis.php. Accessed 21 Sept. 2017.

“Reverend Gary Davis.” Wikipedia, Wikimedia Foundation, 1 Sept. 2017, en.wikipedia.org/wiki/Reverend_Gary_Davis. Accessed 21 Sept. 2017.

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Lucille Bogan & Dirty Blues

Lucille Hogan was born on April 1, 1897 in Amory, Mississippi. She was raised primarly, however, in Birmingham, Alabama. She married Nazareth Lee Bogan in 1914, and she gave birth to Nazareth Jr. in 1915/1916. Later, she divorced Bogan and remarried to James Spencer. In 1923, she recorded her first songs in New York for Okeh Records. She actually recorded these songs under her own name, whereas some later recordings showed her as being named Bessie Jackson; these songs were also in the style of vaudeville, not blues. By 1927, her style had changed, changing to a deeper and more blues-style tone. That year also proved fruitful for her because her recording of “Sweet Petunia” for Paramount Records became a hit. In 1930, her recordings began to deal with more explicit topics such as drinking, prostitution, and sex. She stopped recording music in 1935, but she managed a jazz group led by her son. She died in 1948 from coronary sclerosis. 

https://www.youtube.com/watch?v=gkPCmIxv-3k 

“Shave ‘Em Dry” was written in 1935. This song is about a woman wanting quick and rough sex with a man. It has an eight-bar blues form, but it is rather archaic since Lucille Hogan was one of the first blues musicians to be actually recorded. Instrumentally, there is only a piano backing Bogan, which chugs along with some ornamentation which leads to a more complex and interesting song. Vocally, there is lots of vibrato when Bogan holds out the notes, and she almost seems conversational while singing as she adds whooping and hollering in this recording. 

Lyrically, this song is extremely raunchy. The term "shave 'em dry" means multiple things. On one hand, it references hostile action, but on the other hand, it is a sexual theme that refers to sexual intercourse without any prior “love-making.” Many female African American singers during this era used similar lyrics to place emphasis on being sexual and even being good at it! The dirty talk continues throughout the song, leading to a very surprising and explicit song, something one might not expect to hear from a song made in the 1930′s!

https://www.youtube.com/watch?time_continue=28&v=_nmrWB1ovQ0

“B.D. Woman’s Blues” was another song written and recorded in 1935. This song is about how women don’t always need a man. It’s also in the archaic eight-bar blues form. The piano, yet again, is the only instrument backing Bogan. Both the blues form and the piano lead to a very sensual tone with a very strong beat. Vocally, vibrato is still a key component of Lucille Bogan’s style, as well as including many low-as-possible notes. One can absolutely tell that Bogan is an alto in this piece. 

Lyrically, this song discusses lesbianism. B.D. actually stands for bulldagger or bulldyke, which were colloquialisms that meant lesbian. Repetition of the first lines of each verse honed in the points that these women didn’t need men, that people didn’t understand them, and that they are rough and know how to make money. 

Sources: 

Oliver, Paul. Shave 'Em Dry. www.philxmilstein.com/probe/pix/oliver.htm. Accessed 20 Sept. 2017.

“Lucille Bogan.” Wikipedia, Wikimedia Foundation, 7 Aug. 2017, en.wikipedia.org/wiki/Lucille_Bogan. Accessed 19 Sept. 2017.

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Music and My Family

My family’s music tastes and experiences have definitely influenced me, especially now that I’m in college with what some people call a “music god complex.” Below are just a few of the many examples of that!

My dad really got me interested in classic rock, which I really appreciate, despite my lack of knowledge about the genre! (He still teases me about the fact that I don’t have a favorite Eagles or Bruce Springsteen song!) When we still lived in North Carolina, back when I was in preschool, I remember him playing the popular Beatles’ album 1 in the car, and it’s still one of my favorite albums of all time all due to my emotional attachment to it! Now, when we’re in the car, he often plays the Sirius XM radio station, 70′s on 7. It’s definitely interesting to hear what he listened to back when he was a teenager, but it’s not so entertaining to hear his singing voice. It’s endearing to a certain point, but my dad’s not hosting any concerts for his amazing singing voice in the future!!!!

My mom wasn’t around as much as my dad because she’s a doctor and a bit busy saving lives all the time, so while I wasn’t introduced to as much music from her like I was with my dad, I still have many fond memories about being with her and listening to music. She really likes Carole King and the musical The King and I, and she sings songs from them a lot while at home! As a young lass, she’d play a lot of Disney soundtracks in the car for me, like The Little Mermaid before swimming lessons and Aladdin while going to the store! When I’m in the car with her nowadays, she plays Sara Bareilles a lot, and we sing “Kaleidoscope Heart” at least 3 times in a row because she really likes hearing all of the acapella parts!

My sister listens to the Top 40 hits a lot of the time, which I don’t quite understand because I don’t really like it. However, on the rare occasion when I actually like a song that’s super popular at the time, I’ll totally dance around the room and sing the lyrics with her until we fall on the floor from running out of breath! (She’s actually gotten “Despacito” stuck in my head more times than I can count because that’s all that she sings nowadays, despite my protests!!!)

My brother is sort of a wild card when it comes to music taste. He doesn’t really listen to the popular music of the day like most 15 year olds (and no he’s not a weird hipster like me, surprisingly!) He really listens to a lot of 70′s and 80′s music! A song that I hear often emanating from his room is “Never Gonna Give You Up” by Rick Astley, it’s not even ironic!!! He genuinely enjoys the Rick Roll song, guys, how crazy is that?! He also really likes it when I play La La Land on my record player, so we like to hang out in my room and hum/ sing along to the music. The only problem with that is that my sister cries every time we play the epilogue to that movie because she still thinks (SPOILER ALERT) that Sebastian and Mia are meant to be!

My family is very big on going to concerts and seeing musicals live, so I’ve been very lucky to see and meet some incredible musicians! My mom’s interested in Broadway like me, and we’ve seen Wicked, Dear Evan Hansen, Waitress, Avenue Q, Beautiful, The Book of Mormon, and tons of other shows together! In Dear Evan Hansen, we cried a total of 15 times, combined! (Okay, I cried 13 times, don’t judge...) She’s also taken me to see Sara Bareilles and Ingrid Michaelson, which have been completely amazing experiences! Now with my dad, he’s a bit more picky with what people we see together, but most recently we went to go see Michael Franti and Spearhead together! I got to hug Michael Franti during the concert, and overall, it was the most feel-good concert I’ve ever been to in my life! I couldn’t stop smiling the entire time, even though I didn’t know much of his music!

I’m super lucky to live very close to my grandparents, and that helped spark my interest in instruments, especially piano! My grandma learned to play piano when she was young, and she can still sight read incredibly well! I remember being little and having her play “Somewhere Out There” from the movie American Tail; I’d sing along to the music, and I became enchanted with music right from that moment on. My siblings and I actually began learning the piano when I was in middle school, and they were in elementary school. While my sister quickly gave up on mastering the instrument, my brother and I would practice often, and we actually became semi-decent piano players! In some recitals, we would even play duets together, and although we argued a lot about who had more room on the piano bench, we had lots of fun doing it! Neither of us take piano lessons now, and while my brother has kinda given up on learning music in its entirety, I’ve continued by learning guitar and ukulele!

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About Me

Hey everyone! The name’s Elizabeth, but you can call me Liz if you want! I’m a sophomore at UGA, studying as a biology major with anthropology and music minors on top of that. My favorite things to do are curating unnecessary Spotify playlists for every occasion possible, maintaining a mediocre aesthetic, playing guitar, piano, and ukulele, and singing my heart out on the streets and in the shower! You can usually hear me listening to indie pop, indie rock, and show tunes!

I’ve pretty much always been a music nerd! I started my musical journey as a little kid in elementary school, being in the chorus and playing Calamity Jane in the 5th grade school musical (the latter being a massive success of course.) I stayed with chorus throughout middle school, even being a part of a GMEA All State choir and the understudy for Annie in, you guessed it, Annie, in 8th grade. In middle school, I also started learning piano with a rad teacher, who inspired me to actually work hard on my musical talents. 

In high school, I stopped taking choir for 2 years (a MASSIVE regret), but I realized my mistake junior year, and started taking it again, getting into All State my last two years of high school. I was also a farmer ghost in my school’s production of The Addams Family and a really cool and buff Roman citizen in A Funny Thing Happened on the Way to the Forum. I started learning guitar and ukulele in high school too!

Now, in college, I’ve been in the University Chorus, and I’ve been blasting my guitar and ukulele in dorm rooms across UGA! Nothing too exciting yet, but just you wait, I’m gonna be a big star on campus soon!

My favorite indie pop song right now has got to be “Don’t Kill My Vibe” by Sigrid. She’s a singer from Norway, and she incorporates a lot of electronic instruments and piano in her songs, making it a nice hybrid of today’s popular pop music with singer-songwriter intentions. 

https://www.youtube.com/watch?v=xzonQoON9eo 

Currently, I’ve been listening to Lunar Vacation’s “Anna” a lot as well. Their indie rock feel has some ‘60s beach pop vibes to it as well, making it a total summer jam. They’re definitely not mainstream, but if you like dreamy electric guitar with calming vocals, this should be right up your alley!

 https://www.youtube.com/watch?v=tcfc9tg0Qq8

My top song from a musical today is definitely “Times Are Hard for Dreamers” from Amélie. It’s a show that just recently closed from a Broadway run. Amélie is played by Phillipa Soo, so if you’re a fan of Hamilton or of just really powerful vocals, check it out! There’s two versions: the original Broadway recording and a pop version; I can’t decide which is my favorite, so you can see for yourself which of the two you prefer!

https://www.youtube.com/watch?v=DF_xSNtV88Y

https://www.youtube.com/watch?v=nHT3vaYgM1k

And finally, as a little bonus, my guilty pleasure song right now is “C.L.A.T.” by DJ Mitch Ferrino. I’ve been watching RuPaul’s Drag Race throughout the summer, and Season 9′s queens had me obsessed. I discovered this song while looking at interviews and shows from the queens. I’m especially obsessed with Sasha Velour’s verse in this (she’s the bald queen, if you were curious); her lyrics are extremely smart and include interesting commentary on what art is and bending gender roles.

https://www.youtube.com/watch?v=r0o0PK7AXFE

I really look forward to starting this music project, and I hope you all are too! I hope I introduce everyone to new music or introduce new analyses of songs that everyone knows!