musicalevangeline-blog

[musicalevangeline-blog]

Post #16 MUSC304

1.) He was influenced by tragic figures, including Karl Stauffer-Bern, an artist who committed suicide. Another one of these tragic figures was a friend of Strauss’s, another composer Gustav Mahler who died at an early age (Strauss’s use of cowbell is attributed to Mahler’s influence). Nietzsche was a large influence on Strauss too, as shown by the original title of the Alpine Symphony. Nietzsche’s influence on Strauss makes sense with the trend of Tragic figures, as Nietzsche was very nihilistic and had a very extreme outlook on life. Other than people, Strauss was heavily influenced by nature and the world around him, and he wanted to show through his music the human perspective of experiencing nature.

2.) It is going to be played with a large orchestra. There’s a lot of imagery created by instrumentation, especially with the percussion. There will be cowbells and Shepard calls. Lyrical melodies played by the alphorn. Very Lord of the Rings vibes honestly.

3.)

(If I see cows while in the alps, I will actually cry.)

4.)

Nacht (Night)     0:43 Sonnenaufgang (Sunrise)     4:16 Der Anstieg (The Ascent)      6:00 Eintritt in den Wald (Entry into the Forest)     8:20 Wanderung neben dem Bache (Wandering by the Brook)      13:57 Am Wasserfall (At the Waterfall)      14:45 Erscheinung (Apparition)      15:00 Auf blumigen Wiesen (On Flowering Meadows)      15:45 Auf der Alm (On the Alpine Pasture)      16:50 Durch Dickicht und Gestrüpp auf Irrwegen (Through Thickets and Undergrowth on the Wrong Path)      19:30 Auf dem Gletscher (On the Glacier)      21:03 Gefahrvolle Augenblicke (Dangerous Moments)      22:22 Auf dem Gipfel (On the Summit)      23:54 Vision (Vision)      29:43 Nebel steigen auf (Mists Rise)    33:40 Die Sonne verdüstert sich allmählich (The Sun Gradually Becomes Obscured)   34:00 Elegie (Elegy)      34:53 Stille vor dem Sturm (Calm Before the Storm)      37:02 Gewitter und Sturm, Abstieg (Thunder and Tempest, Descent)     40:20 Sonnenuntergang (Sunset)      44:20 Ausklang (Quiet Settles)      46:55

[musicalevangeline-blog]

Project Proposal

Who you’re working with: No one, working independently.

Your Topic: Shuhplattler. It’s a dance, but often associated with specific music, and could also seen as part of Oktoberfest music and culture. It’s a very southern/Bayrish thing.

Sources you plan to use: Wikipedia, http://www.schwuhplattler.de/geschichte.en.html

Videos of music you may use (at least 3): https://www.youtube.com/watch?v=RbGMiBFkErM , https://vimeo.com/53494877 (I might have to find another similar video, this one doesn’t want to go into the powerpoint very smoothly).

What questions do you have about the topic that I can help you with:Nothing really. Maybe just advice, like is this related to music enough or should i find a different topic?

[musicalevangeline-blog]

Lohengrin

Watching Lohengrin is like watching a horrible car accident-- you know it’s bad, but it’s so hard to look away. It’s not bad in terms of music, I actually really love the music. But the acting is so bad, it’s so overdramatic.. which I guess Opera’s usually are. But this production is weird, like it gives off such weird vibes but there’s nothing like physically there that is weird. I am enjoying it, though. It reminds me of a telanovella.

I’m also a huge fan of Ortrude. I find it hard to care about Elsa and Lohengrin, because I like her story much better. The end of Act II was much more enjoyable than the beginning, so I’m excited to see what is in store for Act III.

[musicalevangeline-blog]

MUSC304 Post #15

1.) I think it’s reasonable for Wagner to not want to be played in Israel, given the history of anti-semitism surrounding Wagner and I had no clue that his music would accompany Jews to the gas chamber. The first article mentions that upholding the taboo in Israel is like giving Hitler the last word, and in some ways I agree. I think taking back Wagner and reclaiming that music wouldn’t be “accepting” what happened, but saying that you’re stronger than what that music has represented in the past. Kind of like the LGBT+ community taking back derogatory language that has been used against them like “queer”. But Wagner didn’t compose his music knowing it would accompany Jews to the gas chamber. He isn’t responsible for the Final Solution, and I think playing his music would be a way of reclaiming something that the Nazi’s took away from the Jews.

2.) I think Stephen Fry would agree with my above statements-- he’s all about judging the music and not the person, and that means a lot coming from him, a man with a Jewish background. He said Wagner’s works were infinitely reinterpretable.  

3.) There is a 7 year waiting list to attend the festival. Wagner’s stage directions often came from the mountains, describing the mountains. Wagner had a lot of debt when he went back to Germany, and so most of his money he made in Switzerland went to paying debts (then Suagr Daddy Ludwig comes in and saves the day).

4.) Lohengrin was based on a character in the last chapter of the poem Parzival of Wolfram von Eschenbach. Lohengrin is the son of the Grail King Parzival.

5.) I wouldn’t say he saw himself as Lohengrin, or Zeus in his other influences, but maybe he identified with them in some aspects. Like I know he was a jerk but I don’t think he saw himself as a God.

6.) A prelude is a preview of the tone of the play/opera, like hinting at what the mood of it is. An overture is like a preview of the themes, you get a little bit of everything.

7.) She’s been accused of murder.

8.) ??? Outside the castle? He pops up at the church like “Elsa you can’t trust this guy you don’t even know his name”

9.) She practices paganism.

10.) Because he’s her husband?? She probably wants to know what her name is now... But also because Ortrude’s words are getting to her and she’s not sure if she can trust him.

11.)Telramund is stabbed by Lohengrin, Ortrude dies after telling them the Swan is Gottfried, and Elsa dies randomly from?? heartbreak??

12.) yes

13.) Lots of drama, and like a bad exaggerated drama. Like a telenovella.

[musicalevangeline-blog]

MUSC304 Post #14

1.) Wagner’s essay about Judaism in Music kind of seems like an afterthought. He doesn’t really go into specifics about the problems he has with Jewish people, but for some reason he wants it put out there into the world that he doesn’t like them.  I think Wagner wanted people to think he was a “true antisemite”, but it feels very fake. He picks the most superficial things to be upset about, like their appearance and the way they talk-- like a boy with a crush on the playground. “No I don’t like her, she smells funny” is basically all I hear when reading about Wagner hating the Jews. When talking about Mendelssohn he disputes everything he had said previously about the Jews. And even then, he continues to contridict himself and honestly i’m so confused. He like “Mendelssohn has a wonderful sense of humor and is basically a wonderful person but his music is so deep and dark---but nothing like the Germans!” It’s just all kind of nonsense. Wagner writes this and really doesn’t say much. He’s basically trying to convince the world of something he himself doesn’t believe, like a student writing a book report on a book they never read.

If I were a Jewish musician at this time, I would probably perform his work I guess. I’d probably be looking for any job I could get, right? And if he’s gonna give me a job playing music that’s literally changing the way we play music forever... then yeah, sure. I’ve worked for jerks before, and probably will continue to do so for the rest of my life, so what’s one more?

2.) Wagner changed a lot about the way music was performed. His Festspielhaus was a new kind of operahaus with slanted seating and a sunken orchestra, giving the best view and auditory experience possible for the people there to see his shows. He also changed the way things were done within the theater, making curtain closings shorter and messing around with technology and architecture in a way the world hadn’t seen before. His operas were big and grand and there was never a dull moment. He made the experience of going to the opera as big of a deal as it is today.

[musicalevangeline-blog]

MUSC304 Post #13

1.) Wagner was 14 when Beethoven died. He learned about Beethoven through his sisters, and went of Leipzig to stay with his sister, which is where he found some of Beethoven’s music and when he first learned to play it. After that he sought out Beethoven’s music and went to a Symphony-- he idolized Beethoven and created an image of what he thought Beethoven would have been like in his mind. Wagner basically thought of Beethoven as a God-- or a supernatural being above all others at least.

2.) He thought it was impossible to create anything new and original in Beethoven’s style, and he felt drawn to Operas as a genre-- he had no one to compare himself to in those regards, and felt that he could be free to compose without the shadow of a great composer like Beethoven looming over him, but that he could eventually become that figure for someone else in this genre.

3.) I mean, it seems like he just had a lot of bad luck in the beginning. He can’t control cheating wives and jealous husbands, or theaters going bankrupt. My favorite sentence:  “Now if only Richard would do his job, not upset everybody, and write more operas people could enjoy...” “Not likely.” He was also just a diva who whined when he didn’t get his way. He was also kicked out of Germany for 11 years.

4.) The paragraph says his loneliness was his great leitmotif, so maybe it means it was his greatest like, influence? Like, the thing that reoccurs in his works the most.

5.) His second wife was Cosima, who started out as his secretary? She was also the illegitimate daughter of Franz Liszt. Then she had like 3 kids and the last one was probably Wagner's (this was before they got married).

6.) Ludwig didn’t want it to premiere in Bayreuth? But it did anyway and Wagner had a whole new theater made just for this production and Ludwig attended and refused to acknowledge anyone

7.) It was on the grounds of the royal castle, and so Ludwig made an agreement to pay for it all if that was the location the festival would remain.

8.) ??? Wait did the Nazis pay for the Festival?? He was kind of a big like key figure in German nationalism, even though he tried to get away from like the anti-semitism views even though he was very open about not liking the Jews.. idk.

9.) I think I’m somewhere in the middle, moderately a “normal” person and a music expert... probably more on the normal person side. Like, I’ve played an instrument since 6th grade (so like... 8 years?) but I’ve only know the trumpet/euphonium/tuba, I haven’t branched out into other instruments (i was in choir for a year.. but does that really count) so I do know some music theory, but I am nowhere near an expert of any kind. I learn new things about an instrument I’ve played for 6 years every time I have a lesson.

10.) He was taken in as a “young misfit” by Winifred, Siegfried’s wife, who brought him in as a member of the family. Winifred took over the Bayreuth festival, and Hitler provided support in the festival, especially after he became chancellor. (I hate knowing that King Kong was Hitler’s favorite movie). “whoever wishes to understand National Socialism must first understand Wagner”ope

11.) It basically dismantled the operas of this time, no one really wanted to support Bayreuth after the war and especially since they never really apologized. They were like “we’d like to move on and forget about all of this” and Germany was like “???no??? we will not???”

[musicalevangeline-blog]

MUSC304 Post #12

1.) I think Ludwig really did love Sophie, at least for a while. But I don’t think a person like him can settle for just one person. He isn’t satisfied with the idea of marriage and settling for one person for the rest of his life. I think he thought of himself as a romantic, searching for the right one, but there was never going to be a “right one” because he’d get bored of them all eventually.

2.) The book says Wagner thought Ludwig would be his “salvation”. I mean, i think anyone with financial troubles wishes they could find a king to take their troubles away-- and thats basically what happened. Ludwig was like “write me some music and we can be best friends and i’ll give you lots of money”. Dang, I wish I had friends like that.

3.) I think Ludwig knew of Wagner’s work before they met-- Ludwig upon their first meeting was like “play this for me” and Wagner was like “he’s so amazingly beautiful I can tell he’s going to die young and tragically”. Oh, and Ludwig also knew Cosima, who him and his wife had written letters to about their relationship, who was apparently betrothed to Wagner.

4.) The Lohengrin, right? I love how he’s like “so the work wasn’t like, good--but I understand it” (i keep using quotation marks, but please note that these are not the real quotes)

5.) Wagner had a lot of political ideas that were contriversial, and being so close to the King there was a lot of speculation about what was going on between them-- “He and the king spent wonderous days together, during which Wagner learned to appreciate the gentlest and most caring young man the world has seen”... like, i think that speaks for itself. Wagner went to Switzerland.

6.) The king wanted his input about Wagner’s shows to be put in, but Wagner was like “I’m not gonna be your puppet” I dont know they fought a lot and Ludwig got upset when an old guy was in the production of Lohengrin instead of a young guy, but then like a week later was like “Wagner, I love you and can’t live with out you” but Wagner was like “We are never ever ever getting back together” and after the King returned from Switzerland, everyone was like “you suck”.

7.) I mean if he was trying to distance himself from Wagner and win back the favor of his people--- probably not. But then again, Wagner did so much for the king, it’s probably about time he did something in return. Also, Wagner’s birthday is only 2 days after mine. 

8.) These letters were actually very cryptic and exact meanings could be a bit skewed, but yeah my answer for #1 still stands-- Ludwig loved a lot of people, i’m sure, but he never believed any of these people were “the one” in the end, and I doubt that he ever really could’ve been satisfied. 

9.) Neo- means “new”, right? I like that he built castles in poor, rural areas, giving more work oppertunities for people. I like the way Linderhof looks, but I think i’d be happy living in any castle in the mountains.

10.) He committed suicide by drowning-- which is like one of the hardest and most painful ways to die. So I guess Wagner was right, he would die beautifully and tragically. H ewas only like 22 too. I’ve also read that some people think he could have been murdered-- because the doctor was in the lake with him with like scratches and bruises that could have been signs of a struggle. Crazy. 

[musicalevangeline-blog]

MUSC304 Post #11

I had this post half way done when my computer restarted itself so... that sucks.

1.) Ludwig was born August 1845 and Otto was born April 27 1848 (Why does everyone have the same two names-- it’s like Wuthering Heights) Ludwig was only 16 when his father died and he took the throne (a part in the book says 18, but i did the math? he would’ve been 16).

2.) At the beginning he was a very dedicated leader, people thought maybe too much so-- he didn’t have much of a sense of humor after he took the throne. But he accomplished a lot in his 22 years in charge, and was usually at the forefront of decision making-- no bills were passed without his consent and most documents were signed by him directly. He didn’t like going to celebrations.

3.) They were best buds. Wagner supported Ludwig to get out into the world and visit his people (kind of in a selfish way, but whatever).

4.) So... Ludwig was basically a sugar daddy for Kainz is what I’m seeing. He was asked to preform several times for the king, would recieve gifts, and the king would randomly summon him for vacations. Sounds like a royal sugar daddy to me.

5.) He opposed the war and argued for armed neutrality. Despite his beliefs concerning war, he stillcarried out his kingly duties during this time.

6.) Bavaria became closer to the other states in northern Germany and they joined the German Customs Union. The state as a whole also started voting more conservatively.

7.) I mean, i think he saw way too many plays to not be a fan of the arts. His friendship with Wagner also speaks toward his love of music and the arts. Science on the other hand, didn’t seem to be at the forefront of Ludwig’s mind and is seldom discussed in these pages.

[musicalevangeline-blog]

MUSC304 Post #10

1.)    It’s kinda like a trumpet but its usually really long so more like a trombone? It has a mouthpiece very similar to a trombone at least.

2.)    They started out being made cylindrically? But now they are conical because they sound better that way.

3.)    The alphorn traditionally was made out of bone, but can be made out of wood or any other material that can be hallowed out.

4.)    Monophonic, very simple.

5.)    The herdsmen would use their horns to play soothing songs to calm their cattle while they were grazing or being milked or during storms. Which is just the purest, cutest thing I have ever heard.

6.)    3 movements, because it didn’t fit into the 2nd movement? It’s peaceful already, the cows are resting.

7.)    Because while swiss troops were deployed, the sound of alphorn mde them sad and miss home so they banned the alphorn on threat of death so they wouldn’t want to go home.

8.)    They did festivals where they held alphorn contests but like only a couple people or one person would enter every year so this guy had an idea to just make a bunch of alphorns and find students to play them and then they became a big thing in tourism and a national symbol for Switzerland.

[musicalevangeline-blog]

MUSC304 Post #9

1.) They were taken to concentration camps and used in Nazi Propaganda to show how great life is in concentration camps and the awesome concerts they see there. Musicians were treasured, put in orchestras to kind of “raise spirits” in the camp.

2.) Much like what we read about in Dyer’s class, a lot of people were like “hey this whole socialism thing kind of sucks and we don’t want any part of it.... but we want to keep our jobs, so like we’re just gonna pretend that it’s not happening” and I feel like that was a very common thing in Germany at the tie. If you personally weren’t effected by the war and the anti-semitism, then why disrupt your life? I think they’re all equally sort of guilty, but at the same time like... wouldn’t you do the same? Hindsight is 20/20 and we can say we would be different and stand up in the face of oppression, but are we doing that now? Not really. Today in America we turn a blind eye  to the same kind of things, and because it doesn’t effect our families or our daily lives-- it’s not our problem.

[musicalevangeline-blog]

MUSC304 Post #8

1.) The first part of this chapter on Beethoven is to overview who Beethoven was and his impact on the world of music.

2.) 33/34

3.) I’m a little confused about this, but I think Beethoven admired Napoleon because he saw similarities between him and Napoleon, but when he became Emperor he was upset because he didn’t think Napoleon deserved it because he was just “an ordinary person”? and he was going to like kill people and didn’t deserve to be held to a higher degree?

4.) He’s pretty full of himself, like a class A Narcissist. But like an angsty kind of way... Like, “I’m deaf and I’m still a better composer than you” kind of way. He had a temper and was rude to his housekeepers and probably literally everyone. He kind of reminds me of a villain in a Nathaniel Hawthorne story-- full of pride and ego and doesn’t go to church enough.

5.) Yeah doesn’t change much for me... “ My misfortune is doubly painful to me because I am bound to be misunderstood “

(sans murder)

6.) Intestinal problems?

7.) Being a musician surrounded by loud noises and practicing in small rooms all the time. Tinnitus. Maybe a viral infection. Otosclerosis?

8.) He wanted to adopt Karl but the struggle to gain custody while Beethoven was struggling with his hearing wasn’t going well and Karl committed suicide and I was skimming but I didn’t see a lot about his dad?

9.) I think it’s plausible that he was able to compose later after his hearing loss because he used his same piano and he knew what things were supposed to be like, being a musical genius and all. Also the vibrations from the piano probably help differentiate notes. Not to be a giant geek or anything, but there’s an Anime called “Your lie in April” about a piano kid genius that “loses” his hearing and learns how to play without it and it kind of reminds me of that.

10.) The texture is polyphonic-- it has the main melody and an accompaniment.

11.) I’m not a big fan. It doesn’t “flow” as well as the first one, and it doesn’t sound like the same song or really have the same theme as the first one and the last one. (By theme I mean like, the tone it gives off)

12.)  It’s very fast, and maybe it does help tie the second movement into the first one especially with that last moment of the second movement. I think sometimes its hard to hear dynamics in the third movement, but if you pay attention they are there. Especially at the end there is a very long, spread out crescendo into a ritardando before it has it’s conclusion.

[musicalevangeline-blog]

MUSC304 Post #7

1.) The Glockenspiel tower that chimes at 7 and 11 in the morning and at 6 at night.

2.) Colloredo wanted to modernize Salzburg by overhauling the education system, to stabilize the economics of the court, and to promote science and the arts. He wanted to give people more voice and freedom of press, but he did away with traditional ways of spreading music such as at church. Basically he was the first hipster and hated “popular” music. He picked and chose what music was acceptable in different situations. People thought he was a dick, but basically he wanted to give people the opportunity to play music that wasn’t just for church or for the archbishop and actual play things they wanted. But he was a dick and everyone hated him, so they didn’t really care that he was actually doing things for the benefit of others.

3.) You could teach choirboys for extra income, and also get some practice at composing doing this because they had a bunch of events where they needed new music. You could also compose for the University for like, graduation and professors that just wanted some music composed for them.

4.) While employed in Salzburg, Mozart did his job but not passionately like Haydn did. Mozart composed maybe 30 works, while Michael Haydn did a lot more (90+ works). Mozart composed in a more Italian-style outside the Salzburg tradition.

5.) Mozart had plenty of oppertunities to compose and share his music and make money, but he kind of played off the whole “starving artist” thing and made music for himself and not for others-- and it’s not like he wasn’t successful at it. Like Mozart was always like “I can’t do my best work trapped in Salzburg I have to get out in the world and experience whatever to make my music mean something, being trapped in Salzburg is hurting my music” i dont know, I just feel like he was really whiny and didn’t have real problems. Can I say that?

[musicalevangeline-blog]

MUSC304 Post #6

Basically, Mozart was a natural talent that his father coveted and pushed to become the best-- so really, Mozart could be comparable to the modern day Disney Channel Kid. From a young age he got a lot of attention (probably not the best kind of attention). He was stuck in Salzburg after his 3 year tour of Germany, and he and his father didn’t think he was reaching his full potential there because people didn’t give a hoot about him in Salzburg.

Mozart, like any good Disney Channel kid, had his rebellious stage and learned what sex is, then had his heart broken. He then moved to Paris and continued on with his music in a new period of sad music. Plus his mom got sick and died. He started playing in a minor key probably because he was so “unstable” much like what people considered the minor key to be.

Act of rebellion, part 2. He said a big “heck you” to the Salzburg archbishop and went off to do his own thing in Vienna.

[musicalevangeline-blog]

MUSC304 Post #5

1. Bach was a gifted musician whose drive to practice and get better increased the more successful he was.

2. 1450ish

3. Two wives and Ten children (ummmm he was 26 years older than his 2nd wife. he could rent a car before she was born.)

4. the article says 4

5. Not really. My dad played saxophone in high school but other than that... not really. My brother is learning how to play the guitar though!

1. I want to say this is a minor key? Even though it is church-y, it’s very depressing sounding. What do I know though, it’s probably modal. It’s not motat because it has accompaniment.

2. Jesus dies, and they are apologizing for what they’ve done? They’re thanking him and hoping he is in a better place. Is this before he rises from the grave? How did Jesus die the second time?

3. It’s a large scale musical work for orchestra and voices. Is this kind of like a “masterwork”?

4. The more drama the better.

I. Obviously this is in a minor key, but with the fast rhythm of the violins and the high pitch it sounds like it could be major. Lots of expression, bouncing back and forth between the two soloists.

II. A lot softer and slower than the first piece. Lots of vibrato. I really like the accompaniment actually, and then right as I type that they start to play what the accompaniment was playing. That’s cool. Kind of a fugue going on there too, between the two soloists.

III. This one is even faster than the first piece, a much faster tempo. This is what I think of when I think of this type of music, it sounds very dramatic-- kind of storylike as a whole. It starts out big before going down to individual parts and then bringing it all back together.

[musicalevangeline-blog]

Post #4 MUSC304

1. Musicians were expected to master a variety of instruments because likely they were one of few people that could play an instrument and had to teach other people how to do so, usually a family member.

2. We have “records” of what instruments and music were like through drawings and people writing about performances they saw, and surprisingly also tax records and official documents.

3. Nuremberg was a hub for both music and science. Metal workers made brass armor, and found they could also make instruments (science instruments) like compasses and other inventions used for astronomy. Nuremberg was also widely known for their appreciation of the arts, including music, so it was natural that music and science would combine in this city. Scientists in the city could see how life could be improved with technology, and music was something very important to people.

4. Before Martin Luther, music in the church was only performed by people who were wealthy and were educated in reading music and latin, a language that few understood and even less could speak. So music was only for the higher class, which didn’t resonate with Martin Luther in a place (church) where everyone should be equal and should be able to connect through music. Then the bible was translated into German, which made it and the Chorales attainable for the every day person.

5. Polyphonic, modal?, well the title means “the angels spoke to the shepards”, so this is probably about the birth of Jesus? It is a motet because it is an unaccompanied, polyphonic piece of sacred choral music.

[musicalevangeline-blog]

MUSC304 Post #3

1.) The “By the Numbers” article mentions how societal pressures are one of the leading causes of the oppression of women in the professional world, in music and out of it. Definitely on campus and other schools around the united states we see women perusing mostly liberal arts degrees-- CSD, education, etc. While I know there are more men in fields like Engineering and Physics. It’s not that women can’t go into these fields, but we are not expected to. We grow up hearing we should be teachers and mothers-- and so that’s what we unconsciously believe when it comes time to decide what to do with our lives.

2.) I just love how so many successful women in history are accused of witchcraft. Like, I hope that one day people think I’m a witch. She was the first feminist-- letting nuns wear their hair down and making flower crowns.

3.) Homophonic? It’s one voice, but there is a drone. So it could be monophonic too.

4.) This piece is

5.) Germany?

6.) It’s about Jesus giving his life for our sins, right? His clothes were cleansed through our great suffering?  I guess it sounds like that. It sounds like a lot of church hymns, about Jesus dying for us. They always sound both hopeful and horrifying if that makes sense.

[musicalevangeline-blog]

Post #2 MUSC304

1.) BPM can be related to the human body, where a heart beat at 80bpm would be very slow, calm resting heart rate-- like just after waking up. a 120bpm would be the equivalent of a person marching or me walking, very caffeinated. This could explain why music has such an impact on us, because it can be felt at a biological level.

2.) Pitch frequency is determined by vibration frequency over time.

3.) The mouse would produce a higher sound frequency, as it is smaller. An elephant produces a lower frequency, much like a tuba or another large instrument compared to a flute (or a mouse). I feel like this is usually the case, but there may be some exceptions. Like, I think I heard somewhere that whales have a higher sound frequency than elephants in some cases. Maybe it actually has something to do with the size of an animal’s vocal chords?

4.) I think a person’s definition of good and bad music is very personal and can’t be defined broadly. I know my sister and I have opposite tastes in music, which is difficult when I share my Spotify account with her. She likes weird EDM music, whereas it just sounds loud and annoying to me. But then I like some music too that other people might consider “bad”, like have you ever heard Mongolian Throat Singing? I think it’s so cool and fascinating and I love listening to it! But my mom can’t stand it. So I think music is really up to what the individual believes it to be.

5.)