Author: theokim (Page 1 of 2)

Choice Cut 4

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
December 9, 2020

Optional Blog Prompt D for Choice Cuts

Compose 7 of your own Yoko Ono-inspired instructional compositions/pieces/drawings, echoing the brevity of the original Ono pieces. Then “perform” at least two of them and briefly write about that experience.

PAINTING OF ‘AW HELL NAW’

Give a tip to a busker. Then, ask them for
a refund. If they refuse, take your tip back
by force. If they try to stop you, take the whole
jar/hat/instrument case and run.

MALEVOLENCE PIECE

Fold someone else’s laundry, but turn everything
inside out. Giggle with malevolent glee!

PAINTING OF DEMISE

Stand on your bed and pretend to get shot.
Try to get up and pretend to get shot again.
Pretend that your attacker puts two more in
your stomach for good measure.

PERSPECTIVE PIECE

Look up at the night sky and contemplate
the universe. Take a deep breath.

PAINTING FOR PLAIN STUPIDITY 

Play chicken with an oncoming car moving
at high speeds. Win.

POPULAR PIECE

Pop as many parts of your body as you can
simultaneously and repeatedly. 

YOLO PIECE

Eat McDonalds in a Walmart parking lot
at 4:00AM. Get kicked out by a security officer.
Find a playground and play on the swings.

My performance of PAINTING FOR PLAIN STUPIDITY was extremely successful. I may have caused a manned vehicle to veer off the road and plow into a tree, but I won. Theo ‘1,’ Family Minivan ‘0.’

During my performance of PAINTING OF DEMISE, I was dramatically downed by the first bullet. I clutched my wound and attempted to reach for my imaginary weapon, but caught the second bullet too soon. My attacker buried two more into me before I burst into laughter. The performance was certainly a refreshing change of pace from the usual hustle and bustle of life.

Choice Cut 3

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
December 9, 2020

Optional Blog Prompt C for Choice Cuts

Define “serialized timbre.” Articulate your own ideas on how you would serialize timbre, and where possible give specific examples.

Serialized timbre, in my estimation, is a specific series of different timbres that repeats. To serialize timbre for a single instrument, I would select at least a few different timbres, gather the same number of performers, and assign a timbre to each performer. For example, with three pianos and players, I could have one play with a standard piano timbre, one with a felt pad between the strings and the hammers so that the timbre is muffled, and one with metal tacks attached to the hammers so that the timbre is metallic and in a ‘honky-tonk’ style. To apply this series of timbres to music, I could separate, say, a Mozart piece into individual phrases, and have the pianos of different timbres take turns playing each consecutive phrase. The timbre could change at each beat, if desired. In either case, the phrases or notes could rotate timbres in turn, or play simultaneously to create an interesting combination of timbres. 

Perhaps each key of a piano could be modified to produce a different timbre, and then a set of serialized pitches could determine the order of timbres – or vice versa! A set of serialized timbres could determine the order of pitches to create melodies.

I could gather three pianos of different timbres, similar to the first example, but apply the serialized set of timbres to a rhythmic piece consisting of one pitch. While this may not be another way of serializing timbre, I think it would make for a cool musical work. 

The ways of serializing timbre that I have presented include gathering many of the same instruments and giving each a different timbre, and taking one instrument and giving each string/key/etc. a different timbre. In both setups, I would then apply a series of the used timbres to a piece. I am sure that these ideas are nothing groundbreaking – thus, I would love to learn more about all the ways musicians have serialized timbre in the past, and are doing it today!

Choice Cut 2

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
December 9, 2020

Optional Blog Prompt B for Choice Cuts

Discuss your interpretation of the controversy surrounding the premiere of “The Rite of Spring.” What was the big deal? Specifically, begin a discussion about at least one other musical event, composition, or situation that created a similar type of violent public outrage and compare/contrast it to The Rite situation.

To me, “The Rite of Spring” was controversial for being different from traditional western classical music, and in disagreement with some people’s views on ‘appropriate’ and enjoyable music. Some of the unusual characteristics of “The Rite of Spring” include a brutal and jarring plot, an orchestral emphasis on percussion, unexpected accents, polymeter, polyrhythm, ostinato, and strong dissonance. These characteristics were fascinating and innovative to some, and displeasing to others. I imagine that these differing opinions caused the controversy and the riots at the premiere. 

The concert, featuring Yuja Wang, and the musical comedy duo Hyung-ki Joo and Aleksey Igudesman combined virtuosic performance with comedy, which is uncommon in classical performance. While the concert did not create violent public outrage, it did cause controversy through its sexual and racial humour. According to a New York Times article by Joshua Barone, “some of the jokes … were a shame, especially considering that much of the evening was delightful;” however, in response to Barone’s initial review of the concert, someone argued that “some of the jokes were stupid … but not offensive,” which shows that both the concert and the premiere of “The Rite of Spring” attempted to be outside of the norm, and received mixed reviews as a result. Also, visual arts played an important role, and were partly responsible for the controversy in both performances. The two performances differ in musical style. “The Rite of Spring” possessed a modernist style of music, while the concert featured more traditional western classical music. The concert also had three performers, as opposed to “The Rite of Spring’s” orchestra and ballet troupe. Although the concert was not as violence-provoking,” it is one example of a musical event that caused controversy comparable at all to that of the premiere of “The Rite of Spring.” Indeed, it shows how unusual the uproar and riots surrounding the premiere are.

Works Cited

Barone, Joshua. “Was Yuja Wang’s Concert Satirical or Offensive? It’s Complicated.” The New York Times, 15 Feb. 2019, www.nytimes.com/2019/02/15/arts/music/yuja-wang-igudesman-joo-carnegie-hall.html. Accessed 9 Dec 2020.

Choice Cut 1

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
December 8, 2020

Optional Blog Prompt A for Choice Cuts

Cage states “there is no such thing as an empty space or an empty time. There is always something to see and hear. Try as we may to make a silence, we cannot.” Discuss this statement in relation to Cage’s landmark experiment in composition “4’33.”

In my experience of “4’33,” I constantly heard and saw something. I heard my heartbeat, my breath, the creaking of my headphones, and the shifting of my hair as I looked at my computer screen, and around the room. The more I tried to ‘make silence,’ the sharper these sounds became. This experience reminded me of mindfulness meditation, which, from my understanding, involves simply noticing the sensations that arise in consciousness. Mindfulness meditation also reveals, among other things, that there is no empty space or time, much like “4’33” does. This suggests that “4’33” can involve not only sound, but sight, touch, taste, and smell as well.  Thinking back on my experience, I felt, for example, my feet on the floor, my butt in my seat, and my back against the chair. I had the aftertaste of breakfast in my mouth; a peanut butter banana sandwich, an orange, and yogurt. Finally, I faintly smelled my mom’s perfume on me from hugging her before. While Cage may not have intended it, those who experience “4’33” may notice many or all of their senses more keenly, as I did.

My experience of “4’33” made me consider how I appear during performances, and use ‘silence’ when I play. My piano instructor tells me that a performance begins when you enter the stage, and ends when you exit the stage, and my experience of “4’33” emphasizes this point. If I want to deliver a complete performance, I should consider everything from my walk to the piano, to my bow at the end. While there was no empty space or time during my experience of “4’33,” the ‘silence’ created suspense and anticipation. Perhaps I could use this ‘silence’ to my advantage, for example, to build suspense before beginning a piece.

Prompt 9

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
December 1, 2020

Blog Prompt 9

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

Covid restrictions on social gatherings and public events present some of the main challenges for musicians during the pandemic. A group of fellow music students and I planned on attending our professor’s early December concert, but it was postponed due to new Covid restrictions. These restrictions likely stunted concert revenue, and stole the performers’ chance to show their hard work, and expose themselves to audiences. One might argue that offering music online would pay better and provide more exposure than in-person gigs, but the volume of online content, and technological learning curve makes success in the virtual world difficult.

This exercise inspired me to explore lo-fi music on YouTube. While new tracks and compilations emerge regularly, many receive little attention. I believe, though, that platforms like YouTube are a great way to share content and get known. As an aside, I dream of one day finding an idea worth creating a YouTube channel for! I also suggest ‘paying it forward’ to other budding musicians by deliberately seeking out new content. This can be as simple as selecting from the ‘most recent’ posts on YouTube for lo-fi music.

A musician with an online following could spruce up their merch business by organizing raffles/contests/lotteries that offer products or other desirable things. The cost of entry could be a fee, or simply a ‘like’ and comment on the video, and a subscription to the musician’s online profile.

Alternatively, a musician could leave a bowl of CDs on a table in front of their home, and return horrified to see all but the CDs gone.

Prompt 8

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
November 22, 2020

Blog Prompt 8

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

Dr. Munarriz considers the label “Latin American Music” problematic because the numerous different expressions of “Latin American Music” are too diverse to lump together into one category. I agree with his position because I believe this generalization of “Latin American Music” can be ignorant, and possibly harmful in some contexts.

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

Latin American Music comes from regions of Latin America, whereas Latin Music comes from people of Latin American descent, but who are based in the United States.

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

An ostinato is a rhythmic or melodic pattern that is repeated for an extended period of time. Ostinatos serve as the groundwork upon which many Caribbean and Latin American musical expressions are built. They can also help shape musical character, for example, by creating an energetic mood.

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

Latin American expressions in which the so-called “Habanera Pattern” can be identified include Creole music from Belize, Hatian music brought to Cuba following the Hatian Revolution, and traditional music from Barbados.

Prompt 7

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
November 11, 2020

Blog Prompt 7

“Polacca” exhibited participatory discrepancies in the voices heard early on in the piece. Their voices were not always metronomically aligned. Thus, certain voices had to add or take away time in some places to stay with the beat. There was lots of room for variability in the voices’ intonation, so participatory discrepancies were likely exercised to achieve the desired results. In the parts where one syllable was rapidly repeated for a short time, the singer was possibly waiting for the beat at which to end, rather than aiming to speak a specific number of syllables. Negotiation would have been required between the singer and the beat, so that the intended rhythmic effect of the repeated syllables would be achieved, while still ending on the correct beat. Around four minutes and thirty-seven seconds into the piece, a slight increase in tempo occurred. Each performer must have had to negotiate tempo in that moment, to raise it, and stay together at the same time. 

In “Spaced Cowboy,” there were moments when the singer would become metronomically detached, before rejoining the main beat. These mainly occurred before the rapid melodic leaps upward (which sounded like yodeling), in which the main singer briefly adopted a speech-like style and rhythm that was often independent from the main beat. These departures and arrivals to and from the primary beat and rhythm demonstrated participatory discrepancies. 

“Agua Que Va A Caer” exhibited participatory discrepancies in the way the main singer played with rhythm, and sometimes sung in an improvisatory manner. The main singer provided rhythmic variety while staying with the rest of the performers. The drums may have done a similar thing by creating rhythms on the fly to stay with the ensemble, or to create rhythmic interest. Both of these endeavours required rapid rhythmic negotiation.

My biggest takeaway from this activity is that there are likely numerous participatory discrepancies in a performance that listeners cannot detect, and that are only perceptible to the players. While listeners may not always directly perceive participatory discrepancies, they certainly provide authenticity, and a ‘human touch’ to performances.

Prompt 6

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
November 4, 2020

Blog Prompt 6

I think a university music school of the near future should offer teachings of music from a wide variety of cultures, allowing the student to study multiple musical cultures, or specialize in one. The school should allocate equal resources to the various musical cultures.

An event that might support the dismantling of the white racial frame of music theory and history would be the equivalent of ‘club day’ for a diverse range of cultural music and instruments. Students of all faculties could circulate among stalls that each show off a particular culture’s music and, perhaps, most popular instruments. Students would be invited to try the instruments, and taught some playing techniques. This could encourage students to further explore these instruments, and even pursue serious study of them. This idea could be expanded to become a convention of different musical cultures that is open to the public.

An effort to create, and encourage the creation of collaborative music among instruments from various cultures may also combat the white supremacist undertones of music theory and history. Apart from promoting the creation of new and fascinating musical works, and the interaction of various musical cultures, the production of new repertoire may be appealing to prospective students of these different musical cultures.

The quote, “the practice that neutralizes the common sense intuition of the most privileged members of society as objective knowledge,” relates to my work on my instrument in that I exclusively play western classical music. This exclusion of the music of other cultures causes it to fall by the wayside. Thus, it becomes easy to use a general term like ‘music theory’ to refer to ‘western classical’ music theory, and wrongly assume that it applies to the music of all cultures, because it is the only type of music I am aware of. I can begin to combat this problem by making a distinction between western classical music theory and the music theory of other cultures, and attempting to explore different musical cultures and their instruments.

Concert Response

Theodore Kim
V00960161
Music 116
Prof. Patrick Boyle
October 28, 2020

Concert Response to Leon Bridges’ NPR Music “Tiny Desk Concert”

I attended a YouTube recording of an NPR Music Tiny Desk Concert” featuring Leon Bridges and his bandmates. They performed four pieces, titled “Coming Home,” “Smooth Sailin’,” “Twistin’ and Groovin’,” and “River.” Behind the performers were tall bookshelves filled with books and miscellaneous items. There was a desk (perhaps THE “Tiny Desk”) between them and the audience. The result was a space that was homey and intimate, but not so small that it impeded the performers. Bridges and his bandmates were dressed in sleek, black and white outfits that varied between each member. Each member’s appearance was distinctive, yet low-profile enough to not draw attention away from the music. The band consisted of the two guitarists, the saxophonist, the backup singer, and Bridges, the lead singer, who also played guitar for the second and fourth pieces.

“Coming Home” was an expressive piece, roughly about longing for someone romantically. The instrumentation tended to alternate between the full band, and a combination of the guitars and Bridges. Compared to the other pieces, the dynamic and melodic range stood out in “Coming Home,” perhaps to reflect the emotional highs and lows of being in love. While the texture seemed mostly homophonic, it became somewhat polyphonic whenever the saxophonist or backup singer, or both came in. Bridges’ vocal part was rhythmically nuanced, and possessed a natural, speech-like quality, both in rhythm and intonation. On the other hand, the other parts were rhythmically straightforward, which highlighted Bridges’ rhythmic independence. The form, like the other pieces, featured a chorus and verse style, with changes made to the lyrics and/or the musical material with every repetition. I loved the pure, heartfelt quality of Bridges’ voice. His voice would occasionally break or crackle, adding even more sincerity and expression to his singing. The sound of the band as a whole was very mellow, and beautiful in its simplicity. I found myself swaying to, and appreciating every moment of the music.

“Smooth Sailin’” was a temporally energetic, rhythmically driven piece that provided contrast to the first piece. The full band was present for the whole piece. The dynamics floated in the middle range, and occasionally surged in Bridges’ vocal part. The theme of sailing and water was reflected in the undulating and rolling motion of the melody. Bridges’ fun, conversational rhythm and intonation was ever-present, and generally supported by the other parts, which also carried a playful, swinging rhythm. Short, but sweet saxophone and guitar solos were more present in this piece, and it was common for a part to jump in with a musical idea alongside Bridges. In a sense, the piece was like a potluck, with each part sharing their own ‘dishes’ and flavours! These characteristics made for a lighthearted and groovy listening experience. My favourite parts of the piece are when Bridges’ exclaims “sugar” with a sort of bad-boy attitude. It added flare, and a touch of aggression that made the music all the more exciting.

The third piece, called “Twistin’ and Groovin’,” was bouncy, upbeat, and story-driven, and was inspired by how Bridges’ grandparents met. It began by detailing the events leading up to their first meeting, featuring only part of the band. The other parts were gradually introduced, and by the time every part had been firmly established, the action in the story picked up. The highlight of the piece was the chorus, which featured a syncopated and fragmented rhythm created by short gaps in the musical flow, as if to represent the dancers moving so energetically that they hung in mid-air at times! Bridges animated dancing was infectious, and had me moving in my seat in front of my computer screen (sorry Prof. Boyle, there’s a new chair-dance in town). The whole band was animated and expressive, to be accurate. One of the guitarists cracked a full smile, and was fully immersed during the performance. I couldn’t help but admire each member’s confidence, authenticity, and enjoyment of the moment.

The final piece of the concert was “River,” a slow-paced, reflective, almost solemn piece. Only Bridges and the backup singer were involved in the performance. The tempo, and rate of harmonic change were unhurried and easygoing. Bridges and the backup singer carried a vocal melody over simple accompaniment provided by Bridges’ guitar. As with the other pieces, a natural, speech-like rhythm was apparent. The contrasting material provided musical interest, and the gradually descending melody could be interpreted as the steady current of the ‘river.’ The uncrowded soundscape, and subdued nature of the piece contrasted strongly with the rest of the program. This demonstrated the breadth of Bridges’ musical style, and gave listeners a fresh mood to get immersed in. There was a purity and simplicity to the piece that was wonderful to hear. I paid special attention to both performers’ shameless self-expression, as opposed to it being forced or hidden.

I had a great time attending this concert. This style of music is somewhat new to me, so it was very refreshing. I loved everything, including the concert space, the band members and their physical expression, the music, and the digestible length of the program. Bridges’ music is approachable and easy to follow without sacrificing nuance and depth. Thanks to this concert, I am keen on seeking out more of his music!

Prompt 5

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
October 25, 2020

Prompt 5

My ‘repeated listening’ experience of “Eine Kleine Nachtmusik, I” was insightful! While the piece lost its novelty overtime, I gained a new understanding of it that made it more enjoyable in other ways.

Before this activity, I only had a vague idea of the nuances of the piece. I could most strongly identify the melody, but my recollection of the other parts was somewhat foggy. The experience encouraged me to examine the rhythms, articulations, and each part in closer detail, and one at a time.

While examining the rhythm, I gave it full attention, and focused less on the pitches than I normally do. I discovered an unfamiliar joy in simply following the various rhythms. I may not have ‘downloaded’ every rhythm of every part, but my sense of the rhythmic variety among the parts, and the way they interacted was expanded.

When I hummed the melody of the piece to myself before this activity, I often invented my own articulations. There may be a place for that, but I didn’t have a great idea of the original articulations of the piece. I developed an ear that is more sensitive to facets of articulation, such as legato, detachment, and dynamic accents.

I became more aware of the uniqueness of each part because of the ‘repeated listening’ exercise. My prior inexperience with the piece led me to have tunnel vision on the melody. Once I gave each part my full attention, I enjoyed them just as much as any other.

The ‘repeated listening’ exercise pushed me beyond my normal listening habits. At most, I would listen to a piece with great concentration once or twice. This experience revealed that there is more to gain from pieces by listening to them several times in a row, without distraction. I will certainly use this strategy the next time I seek to absorb a piece in fuller detail!

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