Category: Prompts

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.

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.

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.

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.

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!

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.

This blog site is the primary way you can submit work for MUS 116. In particular, the 20 Blog Prompts you will be given through the course website. You’re also able to take this site with you forever as a portfolio/website.

Before proceeding, I expect you to consider your privacy preferences carefully and that you have considered the following options:

1. Do you want to be online vs. offline?
2. Do you want to use your name (or part thereof) vs. a pseudonym (e.g., West Coast Teacher)?
3. Do you want to have your blog public vs. private? (Note, you can set individual blog posts private or password protected or have an entire blog set to private)
4. Have you considered whether you are posting within or outside of Canada? This blog on opened.ca is hosted within Canada. That said, any public blog posts can have its content aggregated/curated onto social networks outside of Canada.

First tasks you might explore with your new blog:

• Go into its admin panel found by adding /wp-admin at the end of your blog’s URL
• Add new category or tags to organize your blog posts – found under “Posts” (but do not remove the pre-existing “Prompt” category or sub-categories, like Free Inquiry).
• See if your blog posts are appearing on the course website (you must have the course categories assigned to a post first and have provided your instructor with your blog URL)
• Feel free to add pages
• Embed images or set featured images and embed video in blog posts and pages (can be your own media or that found on the internet, but consider free or creative commons licensed works)
• Under Appearance,
  • Select your preferred website theme and customize to your preferences (New title, etc.)
  • Customize menus & navigation
  • Use widgets to customize blog content and features
• Delete this starter post (or switch it to draft status if you want to keep for reference)

Do consider creating categories for each course that you take should you wish to document your learning (or from professional learning activities outside of formal courses). Keep note, however, that you may wish to use the course topic as the category.

Lastly, as always, be aware of the FIPPA as it relates to privacy and share only those names/images that you have consent to use or are otherwise public figures. When in doubt, ask me.