Author: theokim (Page 2 of 2)

Theodore Kim
V00960161
Music 116
Prof. Patrick Boyle
October 20, 2020

Prompt 4

Discuss any ethical implications of playing music exclusively of the past.

I think that playing music exclusively of the past would imply that we have become complacent, and unwilling to explore beyond what is comfortable. It would mean that music would cease to develop, because how can development occur when nothing new is being attempted, and risks are not being taken? It may encourage stagnant thinking and behaviour in other fields as well.

Please write about the music you would then perform on your instrument and include any links to this music, if possible.

I think that I would play any existing piece intended for my instrument that interested me. When I have exhausted these, I would likely look for piano covers or transcriptions for pieces that were not originally written for the piano to mix things up, such as this piano transcription of Eine Kleine Nachtmusik:

I would also learn the type of relaxing jazz piano music you might hear in a restaurant or Starbucks or cheesy romantic comedy film, to fulfill my dad’s dreams of me becoming a “lounge lizard” as he calls it. Here are some examples:

I would also learn a bunch of classic Christmas themed pieces to entertain my family with at winter-holiday gatherings. (Who knows, it may secure me ‘thirds’ at the dinner table!) Perhaps ones like those found in this collection:

I ALSO love piano covers for some movie soundtracks! Here are a few that I’m a fan of:
https://www.youtube.com/watch?v=9XCKZqwH9Cs

Offer your cogent opinion on this quote from Nietzsche:

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

To me, Nietzsche’s quote means that it is important to value and respect the present just as much as the past when venturing into the past. In other words, you must examine the past from the perspective of the present. Otherwise, you may forget the wonderful source of potential that is the present, and get stuck in the past, where little or no progress can be made. “Otherwise, you will draw the past down on you” suggests that such behaviour may even crush us and lead to our destruction.

1. Listen to Gould’s 1955 recording of the Goldberg Variations. Then listen to his 1981 version of the same piece. You may find it more effective to listen via Spotify instead of YouTube as the individual sections are easier to access.

2. Choose the same section of each version. This is important.

3. Compare and contrast the differences in each performance. Consider SHMRG elements, textural elements, and anything else that serves your interpretation of these very distinct and difference performances. Take your time and try to articulate sound using words.

4. Total word count: 250 words max.

Theodore Kim
V00960161
Music 116
Dr. Patrick Boyle
October 10, 2020

Blog Prompt 3

Glenn Gould’s recordings of “The Goldberg Variations,” by J.S. Bach, in 1955 and later in 1981 differ greatly in aspects such as dynamics, tempo and articulation – at least in the first few minutes of each recording. The analysis of both recordings suggests that they are more different than similar.

Compared with the 1955 recording, the 1981 recording had more dynamic variation and direction. In terms of dynamic variation, the dynamic range was wider, meaning it could reach greater ‘louds’ and ‘softs.’ The bottom line was brought out more often, creating further dynamic contrast and a more interesting dialogue between the upper and lower voice. Stronger dynamic direction was achieved by often pairing upwards and downwards movement of pitch with increases and decreases of volume respectively. Volume was also less terraced and more free-flowing. In other words, it experienced more gradual change. These characteristics suggest that the 1981 recording provides greater dynamic variation and direction and thus a more thoughtful and nuanced use of volume.

The 1981 recording was significantly slower than the 1955 recording. In terms of the section that is being analysed, the 1981 recording is roughly a minute longer than the 1955 recording, which speaks to the former’s slower tempo and relaxed character. Whether deliberate or because of the slower tempo, many of the ornaments seem more drawn out and clearly articulated, which arguably allows them to be better savoured. There was also more bending and stretching of time in the 1981 recording – not so much that the sound ventured outside of the historical style, but enough to create more compelling articulation.

“Select 3 examples of music, sound or noise that you would include [in the Golden Record]. Include links (if possible) of your choices. Write a 30 word description for each example. Then write a 60 word rationale of why you think these 3 selections should be included on a golden record project.”

Example 1:

A cheering crowd | https://www.youtube.com/watch?v=-FLgShtdxQ8

This is the sound of thousands of people clapping, cheering and whistling together in celebration of a special event. An air of adrenaline and excitement is evident!

Example 2:

A walk in a forest | https://www.youtube.com/watch?v=478TeAxm12g

In this example, prominent sounds include rushing water, singing or cawing birds, soft footsteps and rustling trees and plants. The soundscape is free-flowing and organic.

Example 3:

Bishop Gunn – Makin’ It | https://www.youtube.com/watch?v=bmqi6QYs3jg

The parts of this song consist of a drum set, one bass guitar, two guitars and one voice. A standout feature of the song is the soulful quality of the singing.

My rationale for choosing these examples:

The sounds of a cheering crowd and taking a walk in the forest demonstrate how individual sounds can be especially powerful when combined. There is certainly beauty in the simplicity of a sound on its own, but there are arguably effects that only combinations of sounds can achieve. In comparison to the music on the Golden Record, “Makin’ It” is not unique in this sense, but I thought that it was a particularly passionate and uplifting song worthy of sharing with others.

1. Looking back at the “bones of summer” how have you engaged or created art? If you haven’t engaged or created art, please describe why.

Last Summer, I engaged art by taking a Music History course and playing the piano. I created art by composing music.

Learning about music history; the composers and musical ideas of the past can be considered engagement with art. I also learned parts of piano pieces that I was interested in. I used a musical notation software called Musescore to compose some fairly basic pieces. Despite their simplicity, they were really fun to make!

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

I consider the technology that surrounds me to be powerful because it allows me to connect with others and those I care deeply about. My set of juggling balls is simple, yet very fun to use. Juggling provides me physical activity, improves my coordination and gives me breaks from work. I also have a gi, apparel for Jiu Jitsu, that reminds me of the really cool and exciting martial art that I’m learning!

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

The area I most often walk around is the UVic campus. The sounds of buses and cars are prominently heard. Sometimes I hear the faint chatter of conversation around me. If it’s windy at all, or if I’m running, air will rush past my ears. It may be obvious, but I hear my own breathing and footsteps constantly as well as the brushing of my clothes and the jingling of my bag’s zippers and the keys in my pocketses. The rustling of the trees is also commonly heard, depending on how active the weather is. Just outside the library, the sound of the fountains stand out, especially given its dry surroundings.

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

I thought of a few interpretations for this phrase. The first is that, as much as you might feel that your work is urgent and that all of your time must be spent getting it done, you should forcibly take time away from that effort to give yourself free time to relax and pursue things that enrich your life.

The second (somewhat related to the previous interpretation) is that you need to have to steal free time away from work for free time to be truly enjoyable. If free time is simply granted, it won’t be as satisfying. In other words, you need work to make free time feel special.

The third is that free time feels like work if you don’t do things you actually like to do (if time spent doing what you find worthwhile is stolen by doing things that are unimportant and wasteful).

I have a feeling that there’s more I could understand about this phrase. Please let me know how you understand it!

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

I was impressed by his maturity, artistic skill, experience with war and depth of thought and imagination. It showed me how much richer life can be with an open mind.