Final Project: Music and Politics

Battle Hymn of the Republic, Words by Julia Ward Howe, Music by William Steffe, The United States Army, 2016, U.S.A.

For What It’s Worth, Written by Stephen Stills, Performed by Buffalo Springfield, 1967 U.S.A.

Thesis Definition

Music has the power to sway social perceptions of controversial political topics. Dunaway defines such “when its lyrics or melody evoke or reflect a political judgement by the listener” (Dunaway 269). The two examples chosen are Battle Hymn of the Republic and For What It’s Worth. Both songs emotionally charge a societal truth, something that they don’t have complete power over but is happening nonetheless.

Battle Hymn of the Republic was first written as a different song “John Brown’s Body” and was popular at the beginning of the civil war. Julia Ward Howe, in 1861, wrote new lyrics to the song, these more focused on the war. The lyrics are written in support of the union giving the charge that God is on their side (Civil War Music). This piece went on to be a major success influencing our national army even today.

For What It’s Worth was written by Stephen Stills and performed by Buffalo Springfield in 1967. It was originally inspired by the Sunset Strip riots in Los Angeles however it has been expanded by the listeners to apply to any other unjust political movement. This song is applicable to many situations because it is open to interpretation in its universal lyrics. Many popular artists have covered the song, keeping it in pop-culture (Browne).

Music Analysis

Battle Hymn of the Republic

Rhythm:

This song is written in 4/4 time with straight rhythm. The percussion and brass sharply keep the beat as if to keep a marching speed. Each verse and chorus go in a pair with similar tune and rhythms.

Timbre:

The music has a ‘colonial’ feel, with emphasis on the snare, brass, and choir. Each verse has it’s own set of dynamics and tempo. The third verse in the video, but the final verse in the lyrics below is typically sung slower and more thoughtful.

Lyrics:

Julia Ward Howe chose the perfect lyrics for the times she was in. Many people fighting in the civil war at the time were church-goers and would identify with a song about how God was fighting with them. However, the controversial nature of using religion to achieve a political goal was not new to this period. The song is simple enough for a broad audience to appreciate, be it singing or listening, and has a catchy repetitive chorus.

 

Mine eyes have seen the glory of the coming of the Lord:

He is trampling out the vintage where the grapes of wrath are stored;

He hath loosed the fateful lightning of His terrible swift sword:

His truth is marching on.

Glory, glory, hallelujah!

Glory, glory, hallelujah!

Glory, glory, hallelujah!

His truth is marching on.

 

I have seen Him in the watch-fires of a hundred circling camps,

They have builded Him an altar in the evening dews and damps;

I can read His righteous sentence by the dim and flaring lamps:

His day is marching on.

Glory, glory, hallelujah!

Glory, glory, hallelujah!

Glory, glory, hallelujah!

His truth is marching on.

 

I have read a fiery gospel writ in burnished rows of steel:

“As ye deal with my contemners, so with you my grace shall deal;

Let the Hero, born of woman, crush the serpent with his heel,

Since God is marching on.”

Glory, glory, hallelujah!

Glory, glory, hallelujah!

Glory, glory, hallelujah!

His truth is marching on.

 

He has sounded forth the trumpet that shall never call retreat;

He is sifting out the hearts of men before His judgment-seat:

Oh, be swift, my soul, to answer Him! be jubilant, my feet!

Our God is marching on.

Glory, glory, hallelujah!

Glory, glory, hallelujah!

Glory, glory, hallelujah!

His truth is marching on.

 

In the beauty of the lilies Christ was born across the sea,

With a glory in His bosom that transfigures you and me:

As He died to make men holy, let us die to make men free,

While God is marching on.

Glory, glory, hallelujah!

Glory, glory, hallelujah!

Glory, glory, hallelujah!

His truth is marching on.

 

For What It’s Worth

Rhythm:

Rhythms in this song are very simple, nothing too complicated or crazy. The accompaniment strikes chords together every measure then carry it towards the next one. It is written in 4/4 time with emphasis on eighth notes in the melody.

Timbre:

The tone of the song is one of remorse and concern. It is relaxed in the sense that no instrument is competing to be heard, but each has its time in the light. The guitar riffs in the background give a smooth texture. There is no break in the music until the lyrics “stop, hey what’s that sound”, which bring more attention to the message.

Lyrics:

The lyrics for this song are simple and clear. There is something going on that the writer doesn’t agree with but is here anyways. Each verse progresses a universal theme with a repeated mini chorus at the end. With the mini chorus tying each verse together it is fitting that it is repeated at the end.

 

There’s something happening here
What it is ain’t exactly clear
There’s a man with a gun over there
Telling me I got to beware

I think it’s time we stop, children, what’s that sound
Everybody look what’s going down

There’s battle lines being drawn
Nobody’s right if everybody’s wrong
Young people speaking their minds
Getting so much resistance from behind

It’s time we stop, hey, what’s that sound
Everybody look what’s going down

What a field-day for the heat
A thousand people in the street
Singing songs and carrying signs
Mostly say, hooray for our side

It’s time we stop, hey, what’s that sound
Everybody look what’s going down

Paranoia strikes deep
Into your life it will creep
It starts when you’re always afraid
You step out of line, the man come and take you away

We better stop, hey, what’s that sound
Everybody look what’s going down

Stop, hey, what’s that sound
Everybody look what’s going down
Stop, now, what’s that sound
Everybody look what’s going down
Stop, children, what’s that sound
Everybody look what’s going down

Personal Journey

At the beginning of this course, I perceived myself as one who knew more than the average person about all things music. However, as I progressed through this class I learned that although I may readily identify musical elements in songs, I do not possess the natural skills of communicating them. Each blog post was tedious work as I went through the process of finding the words to express myself. At the end of the course I do not consider myself to now have these skills, but at least to be humbled to the point where I appreciate those who do.

Sources

Browne, David. “’For What It’s Worth’: Inside Buffalo Springfield’s Classic Protest Song.” Rolling Stone, Rolling Stone, 11 Nov. 2016, http://www.rollingstone.com/music/features/for-what-its-worth-inside-buffalo-springfield-classic-w449685.

“Civil War Music: The Battle Hymn of the Republic.” Civil War Trust, The History Channel, http://www.civilwar.org/learn/primary-sources/civil-war-music-battle-hymn-republic.

Dunaway, David King. “Music and Politics in the United States.” Folk Music Journal, vol. 5, no. 3, 1987, pp. 268–294., http://www.jstor.org/stable/4522239.

“Most Popular Songs and Artists of 1800s.” Pop Culture Madness, Pop Culture Madness, popculturemadness.com/Music/Charts/1800s.php.

“Music and Politics.” Wikipedia, Wikimedia Foundation, 22 Apr. 2018, en.wikipedia.org/wiki/Music_and_politics.

Thomson, Rex. “The Intertwined Relationship Between Music And Politics.” L4LM, Live For Live Music, 14 Apr. 2017, liveforlivemusic.com/features/the-intertwined-relationship-between-music-and-politics/.

 

 

Audio Engineering: Architectural Acoustics

How Sound Works (In Rooms), Acoustic Geometry, John Calder, 2013, U.S.A.

Acoustics – An Introduction, Troldtekt A/S, 2010, Denmark

Purpose

The purpose of audio engineers, specifically acoustic engineers, has been to design structures for optimal audio listening. This is accomplished “through the selection of certain construction and aesthetic materials and architectural features to reduce or enhance the overall noise level”(What Is Acoustic Engineering). The occupation looks like a real interesting application of something I enjoy. There are two types of ways, active and passive (Trufelman). Active acoustic engineering consists of electrical devices used to alter the soundscape of an area. Passive acoustic engineering is more common and deals with buildings, materials, and contours of the room. In the video, How Sound Works (In Rooms), two practical passive components are used, absorbers and diffusors. Absorbers take extra unwanted sound reflections out of the room and diffusors keep the reflections from continuing. Common places where this is used are churches, auditoriums, concert halls, movie theaters, and lecture halls. Once I get my own place I think it would be fun to design a room, like a home theater or bedroom, for optimal sound.

History

Acoustic engineering has been around since about the “12th century BC” (Mourjopoulos). The buildings used at the time were Greek and Roman amphitheaters. Some were designed for lessons and theater productions while others were designed for orchestra performances, each taking a different design for different occasions. As time went on and technology advanced, the spaces where acoustic engineering grew. The modern spaces include standard buildings, inter-space, interior space, and mechanical equipment (Architectural Acoustics). The modern “father of architectural acoustics” is Wallace Sabine, he is credited with developing a mathematical model for sounds, materials and their reverberations in a room. As electronic forms of sound became more common, a new branch of audio engineering was invented. For a recent electrical audio engineering history, visit the link below:

An Audio Timeline: www.aes.org/aeshc/docs/audio.history.timeline.html

Acoustics – An Introduction does a good job explaining many terms used in the audio engineering world.

Sources

AES. “An Audio Timeline.” Audio Engineering Society, 13 June 2014, http://www.aes.org/aeshc/docs/audio.history.timeline.html.

“Architectural Acoustics.” Wikipedia, Wikimedia Foundation, 10 Apr. 2018, en.wikipedia.org/wiki/Architectural_acoustics.

Mourjopoulos, John. “The Origins of Building Acoustics for Theatre and Music Performances – John Mourjopoulos.” Acousticsorg, Acoustical Society of America, 2015, acoustics.org/the-origins-of-building-acoustics-for-theatre-and-music-performances-john-mourjopoulos/.

Trufelman, Avery. “Reverb: The Evolution of Architectural Acoustics.” 99% Invisible, 99% Invisible, 14 Nov. 2016, 99percentinvisible.org/episode/reverb-evolution-architectural-acoustics/.

“What Is Acoustic Engineering.” What Is Engineering, 2016, whatisengineering.com/topic/what-is-acoustic-engineering/.

 

Music and the Fictive Dream: Halo Soundtrack

Halo, Halo: Combat Evolved Soundtrack, Martin O’Donnel & Michael Salvatori, 1999, U.S.A.

History

Halo was the theme to the original soundtrack for Bungie’s videogame Halo: Combat Evolved. It debuted in 1999 for the Macworld Conference & Expo along with a demonstration of the game. Martin O’Donnell, the audio director of Bungie, along with Michael Salvatori wrote, composed, and participated in performing the soundtrack. The theme was requested to “give a feeling of importance, weight, and a sense of the ‘ancient’ to the visuals of Halo” (Halo Original Soundtrack). It has gone on to be the theme for the entire Halo franchise.

Role

The role of the soundtrack in any video game is to “enhance a sense of immersion, cue narrative or plot changes, act as an emotional signifier, enhance the sense of aesthetic continuity, and cultivate the thematic unity of a video game” (Zhang).  Halo sets the tone for the epic journey that is found in the story line. It has a sense of urgency with repetition and drawn out minor chords that keep the resolution just out of reach. The choir in the background achieves its goal in bringing “ancient” times to mind while playing (Halo Original Soundtrack).

Social

The story of Halo: Combat Evolved is one of strategy and heroism in the face of overwhelming opposition. It has become an iconic American game ranking as the 9th most popular video game of all time (The 20…). Background music, or soundtrack, has been found to be an “indispensable part in every successful video game” and Halo is no exception (Zhang). Thus the success and influence that the video game has can also be attributed to the soundtrack.

Personal

I grew up playing the games from the Halo franchise with my dad. The strategy involved playing the campaign (storyline) with him made for some fun nights. As we continued through the series, the theme Halo stuck with me and now reminds me of those fun times. I have also connected with friends through the game in not just gameplay but in playing the soundtrack with our instruments. It has become a timeless track that always reminds me of fun, family, and friends.

 

Sources

“Halo: Combat Evolved.” Halo: Combat Evolved – Halopedia, the Halo Encyclopedia, http://www.halopedia.org/Halo:_Combat_Evolved.

“Halo Original Soundtrack.” Wikipedia, Wikimedia Foundation, 16 Mar. 2018, en.wikipedia.org/wiki/Halo_Original_Soundtrack.

“The 20 Most Popular Video Games of All Time | 2017 Update.” The Ultimate Resource for Video Game Design, Game Designing, http://www.gamedesigning.org/popular-video-games/.

Zhang, Jiulin, and Xiaoqing Fu. “The Influence of Background Music of Video Games on Immersion.” OMICS International, OMICS International, 7 July 2015, http://www.omicsonline.org/open-access/the-influence-of-background-music-of-video-games-on-immersion-2161-0487-1000191.php?aid=58693.

Role of the Performer – The Piano Guys

Beethoven’s 5 Secrets, (based on Secrets by OneRepublic) by The Piano Guys, 2012, U.S.A.

Lord of the Rings/The Hobbit Soundtrack cover, composed by Howard Shore, The Piano Guys, 2012, U.S.A.

Piano Guys Biography

The Piano Guys is made up of four guys, each of them with an important role with the group. Paul Anderson is the “producer/videographer”, Jon Schmidt is the “pianist/songwriter”, Steven Sharp Nelson is the “cellist/songwriter”, and Al van der Beek is the “music producer/songwriter. Despite having “one billion views on their YouTube channel” they don’t consider themselves very prestigious musicians (The Piano Guys). “We’re just a bunch of ordinary “guys” playing classically influenced instrumental music in videos that showcase incredible locations.” (About).

Role of The Piano Guys

Generally, performers are used to present the music of the composer to the general audience. A single composer cannot possibly play all instruments in a symphony, and more often than not, does not have what it takes to be a star. As for the role of The Piano Guys (TPG), they present their music in a way to bridge the gap between classical and popular music. An average pop song from 2012 is 226 seconds, but both songs by TPG are over 330 seconds (Anisko). The conclusion that can be made is that shorter songs are currently more popular than longer versions. Classical music is typically longer and putting it in shorter packages makes it easier to enjoy for the average listener. The two songs they covered were The Lord of the Rings soundtrack and a mash of Secrets with Beethoven’s 5th, both of which by themselves are much longer than their version. I enjoy listening to soundtracks and longer classical pieces, however they do run the risk of losing my interest. TPG have interesting covers and stunning visuals to keep me intrigued and entertained for the entire performance.

Sources

“About.” The Piano Guys, thepianoguys.com/about/.

Anisko, Nathan, and Eric Anderson. “Average Length of Top 100 Songs on ITunes on StatCrunch.” StatCrunch – Data Analysis on the Web, 4 Dec. 2012, http://www.statcrunch.com/5.0/viewreport.php?groupid=948&reportid=28647.

“The Piano Guys.” Wikipedia, Wikimedia Foundation, 25 Mar. 2018, en.wikipedia.org/wiki/The_Piano_Guys.

 

A Jewish Musical Trip

Evolution of Jewish Music, Y-Studs, Arranged by Ben Bram, 2017.

Jewish music is one of the most diverse genres in the world. This is due to the fact that the people haven’t had a country to themselves for a long time. Jewish music can be divided into three sects; Ashkenazi (Western), Sephardi (Mediterranean), and Mizrahi (Eastern) (Denburg). Since Jewish music has been many places, it doesn’t necessarily have to be composed by a person of Jewish descent (Silver).

http://www.jewishvirtuallibrary.org/an-overview-of-jewish-music

Ashkenazi

Mazal Tov Wedding Songs Medley, Various Authors.

Timbre: 

Ashkenazi music has it’s roots in Europe and spread to North America (Denburg). This gives it a lighter polka feel with instruments not native to Israel, the current Jewish country, prominently the clarinet. The chords chosen give an urgent sense to the music.

Rhythm: 

The pace of the song is rather quick with emphasis on the off beats. This creates a song that generates a lot of “toe tapping” (Denburg). There is almost no deviation in the accompaniment which makes the melody stand out.

Sephardi

Sephardic Music, Unknown Author.

Timbre: 

The Sephardic music has most of its influence come from Spain and other Mediterranean countries. Most instruments play a series of staccato notes rather than prolonged legato notes. There is no apparent melody that ties it all together yet the group plays in a controlled chaos.

Rhythm: 

There are myriad rhythms in this music, not one defining beat as in the Ashkenazi music. This music was based in “medieval Spain” which is why it has a folk rhythm (Denburg).

Mizrahi

צלילי העוד-חנהל’ה התבלבלה, Unknown Date

Timbre: 

Mizrahi music claims most influence from middle eastern countries. This song has a more smooth accompaniment and is sung in Yiddish. The vocals are drawn out and sound like they are remembering something from the past.

Rhythm: 

This music is a bit more fast paced like Ashkenazi. The background is used less and a couple instruments take more intriguing rhythms in intervals. Since there are vocals, more of the rhythm is toned down to keep the focus on them.

Personal Reaction: 

I personally like the Ashkenazi music best, it is the interesting and catchy. The upbeat and fun melody makes for a fun song, funny that my favorite sect is influenced by western culture. Mizrahi is my least favorite sect, it seems to have no direction and has a random pattern.

Sources:

Denburg, Moshe. “Jewish Music: An Overview.” Jewish Vitrual Library, www.jewishvirtuallibrary.org/an-overview-of-jewish-music.

Silver, Rivki. “What Makes Jewish Music ‘Jewish?”.” Rivki Silver ~ Thoughts & Music, 18 Mar. 2013, lifeinthemarriedlane.com/2013/03/18/what-makes-jewish-music-jewish/.

Evolution of Christian Worship Music in the Last 100 Years

Research Introduction:

I am presenting the evolution of Christian worship music over the last one hundred years. The first bit of research I did was to look up popular Christian hymns of all time. I wanted to choose songs that most people would know and would be representative of the Christian worship at the time they were written. The website I referenced was unlockingthebible.org, the material looked as if the author thoroughly researched the material. From this list I chose the songs to represent music roughly one hundred years ago and modern music.

The songs I chose were Great is Thy Faithfulness and 10,000 Reasons, both of which I knew and loved before beginning to research. I began with reading the Wikipedia page for both songs to get some general knowledge. From there I read a paper titled “The Historical Development of the Modern Worship Song”. It is from here that I drew conclusions with my own experience.

 

Great Is Thy Faithfulness, Written by Thomas Chrisholm, Composed by William M. Runyan, 1923, U.S.A.

 

10,000 Reasons, Written by Matt Redman and Jonas Myrin, 2012, United Kingdom.

 

Lyrics:

The first musical aspect to be analyzed is the lyrics. Great is Thy Faithfulness was first written as a poem by Thomas Chrisholm before music was given to the words by William M. Runyan. Many other songs around this time also were written and composed by different people (Tubb). The song is formed in an AB style with verses and a refrain/chorus. Every other line rhymes starting with the second line.

10,000 Reasons was originally written to be a song. Matt Redman and Jonas Myrin wrote the lyrics and tune together. Redman said, “He [Myrin] played me an idea for some of the chorus melody, and I found it immediately inspiring. In fact, it felt like a perfect fit for a song based on the opening of Psalm 103. The song came together really quickly – a good chunk of the song was actually a spontaneous moment” (10,000 Reasons (Bless the Lord)). The song also does not have structured rhyming.

Both songs are based on scriptures from the Bible, Great being based on Lamentations 3:23 and 10,000 based on Psalm 103. However the first is written in a vertical manner where as the second is written in a horizontal manner. The term vertical refers to a song being written about God and the connection with him versus horizontal which is more about the people in the church and how they connect with each other (Reginald & Doucette). This movement has taken place over the years to go towards more vertical to horizontal songs. Great is considered vertical because the message has to do with God and his nature. 10,000 is considered horizontal because it has to do with the action of the singer (or group of singers) and how their response with others is used to glorify God. I have included the lyrics for both songs below.

Great is Thy Faithfulness:

Great is Thy faithfulness, oh God my Father;
There is no shadow of turning with Thee;
Thou changest not, Thy compassions, they fail not;
As Thou hast been, Thou forever wilt be.

Great is Thy faithfulness! Great is Thy faithfulness!
Morning by morning new mercies I see.
All I have needed Thy hand hath provided;
Great is Thy faithfulness, Lord, unto me!

Summer and winter and springtime and harvest,
Sun, moon, and stars in their courses above
Join with all nature in manifold witness
to Thy great faithfulness, mercy and love.

Great is Thy faithfulness! Great is Thy faithfulness!
Morning by morning new mercies I see.
All I have needed Thy hand hath provided;
Great is Thy faithfulness, Lord, unto me!

Pardon for sin and a peace that endureth
Thine own dear presence to cheer and to guide;
Strength for today and bright hope for tomorrow,
Blessings all mine, with ten thousand beside!

Great is Thy faithfulness! Great is Thy faithfulness!
Morning by morning new mercies I see.
And all I have needed Thy hand hath provided;
Great is Thy faithfulness,
Great is Thy faithfulness,
Great is Thy faithfulness, Lord, unto me!

 

10,000 Reasons:

 

Bless the Lord O my soul
O my soul
Worship His holy name
Sing like never before
O my soul
oh
I’ll worship Your holy name

The sun comes up
It’s a new day dawning
It’s time to sing Your song again
Whatever may pass and whatever lies before me
Let me be singing when the evening comes

Bless the Lord O my soul
O my soul
Worship His holy name
Sing like never before
O my soul
oh
I’ll worship Your holy name

You’re rich in love and You’re slow to anger
Your name is great and Your heart is kind
For all Your goodness I will keep on singing
10,000 reasons for my heart to find

Bless the Lord O my soul
O my soul
Worship his holy name
Sing like never before
O my soul
oh
I’ll worship Your holy name

And on that day when my strength is failing
The end draws near and my time has come
Still my soul will sing Your praise unending
10,000 years and then forever more

Bless the Lord O my soul
O my soul
Worship His holy name
Sing like never before
O my soul
oh
I’ll worship Your holy name

Bless the Lord O my soul
O my soul
Worship His holy name
Sing like never before
O my soul
oh
I’ll worship Your holy name (repeat 3x)
Sing like never before
O my soul
oh
I’ll worship Your holy name (repeat 3x)

Rhythm:

The greatest difference between worship songs one hundred years ago and now to me is the rhythm. Older hymns were written “generally of even time value” where as more modern songs have “notes of varied time value” (Reginald & Doucette). This can be seen from the pictures below of each song: Great Is Thy Faithfulness is written in 4/4 time with the majority of the rhythm being quarter notes and 10,000 Reasons also in 4/4 time having many eighth-note rhythms and off beat melodies.

 

http://songsofpraises.blogspot.co.uk/2013/11/great-is-thy-faithfulness.html

 

https://www.sheetmusicdirect.us/sheetmusic/song/1000159963&name=10000-reasons-bless-the-lord?redirect=1

 

Chord Progression:

To the average singer this aspect may not be as obvious, however as someone who plays piano for church worship I can say that the chord progression of these songs are vastly different. Great Is Thy Faithfulness almost has a different chord for each note which can be seen with the four part harmony where as 10,000 Reasons has mainly two chord changes every measure. This makes for a very pleasing a capella version of the old hymns. Over the years instruments, like the piano, have become more accessible to the general public, specifically in the form of cheap electronic keyboards. Modern church worship in turn has included more instruments. 10,000 Reasons is performed with many instruments and even has a dedicated instrumental part in the middle where as Great Is Thy Faithfulness was originally composed for singing. Since a capella parts are easier to change chords, older hymns have more chord changes.

Personal Reaction:

I tend to favor the older hymns over the modern worship songs simply because the lyrics are more meaningful. Modern Christian worship is easier to follow but sacrifices the depth that older hymns have. This is probably due to the difference in taking poems and writing melody after versus writing lyrics and melody at the same time. Even though I prefer the older hymns I do like to play my piano in worship services, and in those moments I appreciate the simplicity of modern worship. It has been on my mind for awhile to try to write some of my own songs and I will try to incorporate the best of each style. Honestly as long as people are singing and enjoying worshiping God, the technicalities don’t matter.

 

Sources

“10,000 Reasons (Bless the Lord).” Wikipedia, Wikimedia Foundation, 22 Feb. 2018, en.wikipedia.org/wiki/10,000_Reasons_(Bless_the_Lord).

“Great Is Thy Faithfulness.” Wikipedia, Wikimedia Foundation, 26 Feb. 2018, en.wikipedia.org/wiki/Great_Is_Thy_Faithfulness.

Halloran, Kevin. “The 25 Most Popular Christian Hymns.” Unlocking the Bible, 24 Feb. 2017, unlockingthebible.org/2013/07/most-popular-christian-hymns/.
Reginald, Travis, and Joseph Doucette. “THE HISTORICAL DEVELOPMENT OF THE MODERN WORSHIP SONG .” Digitalcommons, 2008, digitalcommons.liberty.edu/cgi/viewcontent.cgi?article=1081&context=honors.

Tubb, Benjamin Robert. “Music from 1900-1923includingMusic from World War I (1914-1918).” Music from 1900-1923 Including Music from World War I (1914-1918), 17 Jan. 2015, www.pdmusic.org/1900s.html.

 

 

Musical Analysis of “Ambre” by Else

 

Ambre – Else – 2017

Timbre:

The song has a very interesting introduction using what sounds like background noise from a busy restaurant while bringing in the electronic instruments behind. After that the song feels like it truly begins. The instruments chosen are smooth like a calm ocean with swells coming in. No one instrument takes control for the whole song but each has its time in the forefront of the song combining for an overall calming song. There is also many sound effects used to bring instruments in and out (Dubspot).

Form:

This song has a form that stays consistent throughout the song, no changes in form are noticeable. However the melody and instruments do change, but when they do it is along the same pattern. The song is in common time and divides itself into eight measure chunks. Each measure explores a similar but unique way to express the common theme. I particularly like this song for driving, it is relaxing for a long trip.

Rhythm:

There is one rhythm that stays consistent through out the song, a note always falls on the beat. Most sections use triplets and some use quarter notes, but there is always something falling on the beat. This makes it even more powerful the few times that they skip a beat. My personal favorite times are when most of the instruments cut out. This keeps me interested in what the next section is going to offer.

Range:

‘Ambre’ provides a wide range of musical notes. The lowest are the bass, bass drum, and background synth; there are the percussion, more synthesized melodies, and the restaurant noise sample; and at the highest frequencies are some light electronic. The complete range of audible frequencies is used in this song, which for me provides complete satisfaction (Elert). No part of my ear is left wanting and I feel satisfied with this song.

Dynamics:

The dynamics of this song are very unique. I would say that most popular songs today build to a climax and then come back down for the end. This song instead brings in dynamics changes frequently and in specific instruments. The beginning fades in the song and continues to fade in and out different tones. While in, some melodies are put on a cycle of about one measure going from loud and noticeable to quiet and subtle. This effect is what I think truly makes the song calming. It is used in the same sense that waves coming in and out at a beach is relaxing.

 

Citations:

“Understanding Audio Effects: An Overview of Types and Uses | Dubspot.” Dubspot Blog, 7 July 2016, blog.dubspot.com/understanding-audio-effects-an-overview/

 

Elert, Glenn. “Frequency Range of Human Hearing.” Frequency Range of Human Hearing – The Physics Factbook, hypertextbook.com/facts/2003/ChrisDAmbrose.shtml

 

Musical Analysis of “The Less I Know the Better” by Tame Impala

 

The Less I Know The Better – Tame Impala – Kevin Parker – 2015, Australia

Rhythm:

A friend of mine introduced this song was to me last winter. I had been listening to another song in which I particularly liked the bass line, so he recommended that I try Tame Impala. This song has an original bass pattern that jumps around a large range but keeps a repeated rhythm. It walks through the chord progressions keeping a continuous presence on the root note (Smith). The percussion and bass work together to emphasize the steady beat. This combined with a smooth high melody creates a pleasing blend of rhythms. My favorite part is when all of the sound cuts out for brief pauses contrasting with the continuous noise of the song.

Timbre:

The overall timbre of the song is smooth, it isn’t aggressive in a get-your-attention kind of way. The melody is light, the bass is full, the drums are present but not overpowering, and the synth in the background fills everything in. The fullness of the sound envelopes my ears in total sensation. I like that there is so much going on, it is comforting like background noise at a busy café.  Even though the melody is clear, the bass competes for a spot in the spotlight. (‘Timbre’).

Form:

This song has an intro, verses, and outro; the chord progression changes for a couple of the off verses. I chose not to call the off verses a chorus because it doesn’t have the feeling of a true chorus. It doesn’t repeat the same lyrics, however this makes the song more real to me. The song tells a story of a jealous love after a break up, the repetition of the song seems appropriate since past feelings continue to come up despite trying to move on.

Citations:

Smith, Jon. “Beginner’s Guide to Writing Better Bass Lines.” Music & Audio Envato Tuts+, 4 Apr. 2014, music.tutsplus.com/tutorials/beginners-guide-to-writing-better-bass-lines–cms-19879

“Timbre.” Wikipedia, Wikimedia Foundation, 24 Jan. 2018, en.wikipedia.org/wiki/Timbre

 

 

 

 

About Me

 

Hi! My name is Evan McArthur and I am in the third year of my electrical engineering degree here at UAF. I grew up in Sitka, Alaska fishing, hiking, and working for my father in his construction business.

I started playing the piano when I was eight, my grandmother taught me for a year. I then took lessons for another six years while I played in the school jazz band, choir, and for my local church. Since moving to Fairbanks for school I have continued to play for my local church and have started to help lead singing. From fifth grade to my sophomore year of high school I also played the clarinet in the symphonic band. I currently am learning to play the ukulele. I enjoy chill, classical, and electric music.

I look forward to getting deeper in my knowledge of music. Below is one of my favorite songs, Santa Rosa by Trifonic.